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THE LADY OF THE NILE 
THE AGITATOR 
THE KENTUCKY DERBY 
WHICH IS THE GREATER MAN 
VERSE 


By 


ANNA ftAMSPACHER 

(Mrs. ALBERT LYNESS) 


BOSTON : 

THE ROXBURGH PUBLISHING COMPANY 
INC. 



PS35t>5 

A45 l_3 


1334 
Ce^-| S 


Entered according to Act of Congress in the year 1909 
By Anna Ramspacher 

In the Office of the Librarian of Congress at Washington, D. C. 


Copyrighted, 1909, 
By Anna Ramspacher 


By The 


Copyrighted, 1924, 

Roxburgh Publishing Company, Inc. 





APR 


/ 

! ! 1924 

©Cl A 7 9 3213 







TO THE PRECIOUS MEMORY 

OF 

CLAUDE and JOHANNA RAMSPACHER 

WHOSE LOVE AND APPRECIATION 
AS DEVOTED PARENTS 
ENCOURAGED ME TO A LIFE OF 
USEFULNESS AND STUDY, 

THIS WORK ' 

IS GRATEFULLY AND AFFECTIONATELY 


DEDICATED 



CONTENTS 


PAGE 

The Lady of the Nile (Four Acts) .... 9 

The Agitator. (A Greek Tragedy in Four Acts) . 41 

The Kentucky Derby.87 

Which is the Greater Man? (A Musical Comedy 
in Three Acts).95 

VERSE ' 

A Phantom Fear.123 

Revelation.124 

“Ab Intra” (Anger).125 









































THE LADY OF THE NILE 


TIME AND PLACE 

Scenes: Angers, France; and along the Nile at night. 
Period: Middle Century, or Mediaeval times. 

Time of Action: Seven years. 


THE LADY OF THE NILE 


CAST OF CHARACTERS 
Men 

Orpah — Lord of the Nile, Ardath’s true lover and husband. 
Fortunates — Prince of the Nile, Ardath’s father. 
Alpheaus — A teacher of vocal and instrumental music, 
also Professor at St. Regis. 

Prince Hassan — A magician in white and black art. 
Beelzebub — Prince of Devils, Ardath’s sworn enemy. 
Baal-Hazor — istof Satan’s imps. 

Baal-Peor — 2d of Satan's imps. 

Baal-Hassan — 3d of Satan’s imps. 

Charlatan — Prince Hassan’s charmer. 

Cannek — Orpah’s charioteer. 

Bel — Satan’s black steed. 

Kanta — Orpah's white steed. 

Gispa — Prince Hassan’s red steed. 


Ladies and Girls 

Ardath — The Lotus Beauty of the Nile. 

I rah — Prince Hassan’s slave, also pupil at St. Regis. 
Myra — The Cherub, or Angel of the East. 

Dominica — The Prioress of St. Regis. 

Machmas — The witch of the Nile, in league with Satan. 

Paula 1 L ac jy Ardath’s maids, school girls at St. Regis. 


School girls at St. Regis. 


Lucilla 
Rhodes 
Ruth 
Tripoli 
Grace 
Esther 
Marcella 
Lilly 
Rose 
Edith 
Myrtle 


Nature Spirits, Jugglers, Imps, Genii, Nauchet Girls, 
Charmers, Swans, Peacocks, Blue Doves, Purple Butter¬ 
flies, etc. 



































DESCRIPTION OF CHARACTERS 
Women 

Ardath: the Lotus of the Nile, a girl of extraordinary 
beauty; however, more remarkable for expression than 
regularity of features. A most interesting type of 
womanhood, with a soul so great and radiant that it 
outshines the brilliancy of her wit and intellect. Her 
virtue is impeccable and lustrous, and her disposition 
bright, amiable, affectionate, sympathetic and frank. 
Her beauty is so great that it simply dazzles and be¬ 
witches; an expansive brow, deep violet blue eyes, a 
mouth varying with unconscious sarcasm; teeth strong 
and regular; neck long and flexible; shoulders sloping 
and gracefully moulded, over which falls a wealth of 
golden brown locks, while the attitude, complexion, 
blush, thrilling accent, gracious smile, languor and 
passion depicted on her face, pale and animated by 
turns, seduces the imagination and commands homage. 

Irah: a girl of remarkable beauty; a decided brunette 
with a pure olive complexion, blue black hair of 
wonderful lustre, large, full black eyes of wondrous 
expression, highly tinted cheeks and a playful, tender 
mouth wreathed in continual smiles, displaying the 
beautiful even teeth. Very imaginative, poetical, 
witty, frank, gay and dazzling, yet easily influenced by 
flattery. 

Dominica: a pious, sedate, modest, sober, upright matron, 
very motherly, gentle and sweet; possessed of all the 
qualities that go to make a woman lovable and powerful. 

The Cherub: a guardian of light and wisdom, with an 
angelic face and form of wondrous beauty. 

Machmas the Witch: a miserable, low, mean, degraded 
being of the clan of Satan, given to vice, crime, and 
sins of the criminal order; just the kind of hag that 
Satan employs to ruin a soul or further his evil designs. 


12 


DESCRIPTION OF CHARACTERS 


All the other characters are of the ordinary type, a set of 
young, frivolous, gay, happy, blithesome girls, and 
can be readily supplied. 


Men 

Orpah, the Lord of the Nile: a man of inherited 
wealth and exalted social position with a strong pre¬ 
dominant love nature of a high standard; kind and 
generous to a fault, truthful, courageous and quick 
tempered. A magnificent and sound physique, a most 
handsome and lovable man with wonderfully brilliant 
eyes of rare lustre, with a certain gaiety that later ripens 
into an earnest, sedate man. The governing aim of 
his life is to perfect himself. The most conspicuous 
traits in his character are the wonderful self-control 
he exerts over himself and his moral heroism, together 
with an ardent taste for high literature. 

Prince Hassan: a man with qualities so generous yet so 
wild one could hardly tell whether to call him an Angel 
or a Devil; lofty yet degraded; earnest and frivolous 
at the same time; again impersonating noble deeds 
and sentiments, and at other times subject to every 
frailty condemned by Christianity and humanity. A 
broad, generous mind and gifts that he readily wasted 
and squandered without a scruple. 

Satan: the impersonation of pride and rebellion; jealous, 
envious, spiteful, filled with malice, hate and venom that 
are terrible to behold. Unrelenting and persevering in his 
evil designs, not stopping at anything until he has ac¬ 
complished his end in view; with an irony and sarcasm 
that was capable of rending a mountain in two. 

Alpheus: a handsome fellow; bright, cheerful and witty, 
yet always modest and unpretending; companionable’ 
loyal and proud; a favorite in the most select society! 
with a very genial and warm nature, yet possessed of 
the weakness of a coward. 

Fortunates, Cannek and Charlatan are men of the ordinary 
type, and as they only assume a minor part in the play, 
can be readily supplied. 


ACTS AND SCENES 
Act First 

Scene I. The Seminary Garden of St. Regis, Angers, 
France. Long spacious walks of flowers, to the left a 
porch leading to the Seminary. The play opens with a 
chorus of lively, happy, blithesome girls. After the 
chorus a drill is enacted by the class, followed by loud 
cheering and excitable talking, as is customary among 
school girls. 

Scene II. Interior of the Seminary, one of the Music 
Halls. This scene opens with a lively chorus of ten 
girls between the ages of fourteen and eighteen, followed 
by the “Blue Bells of Scotland” and a cat game that 
causes no little amusement. 

Act Second 

The Nile at night; the Palace of Amor, Orpah’s residence 
and site. This scene is magnificent, with its overhanging 
balcony of pale blue tile, rich green lawn, and musky 
thickets. Orpah and Ardath are alone seated on a 
bridal couch of rich damask. 

Act Third 

Mount Sumern at night; Prince Hassan’s Flower Garden. 
The trees are hung with lamps and flags of wondrous 
hue. Doves, peacocks, purple butterflies, squirrels on 
Jambo trees, quail fighters, sword players, jugglers, 
charmers, swingers, rope walkers, cup bearers, cym¬ 
ballers, and a chorus by the Nauchet girls in spangled 
skirts and bells that chime sweet laughter around their 
restless feet. 


Act Fourth 

Hades, or the Plane of the Dead. A complete darkness 
with two blazon red lights in the following words: 
“Dead yet Living: Living yet Dead.” 

Same scene: Over Hades, the Witches’ cave in the 
mountain. 







.. 




















. 

> 


‘ i . 




I 






. 




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'4 








SYNOPSIS 


Ardath, a young girl of exceptional beauty and grace, is 
sent by her father, Fortunates, to a seminary in France 
to equip herself with accomplishments that will fit her 
to grace as a Lady of rank in the world. Her mother, 
before dying, intrusted her little girl to the "Angel of 
the East.” This Angel guards Ardath in all the trials 
and temptations that beset her throughout life, and 
hovers about her during the entire play, always watching 
over and following her wherever she goes. Satan has 
conceived an implacable hatred and jealousy against 
Ardath on account of her great beauty and the strong 
virtues she possesses in abundance, and swears in his 
heart that he will not let a stone unturned in order 
to effect her ruin. He sets to work and employs three 
of his most daring imps, together with three men, in 
order to further his evil designs, — one man in the full 
bloom of manhood, the second in the prime of life, and a 
third, a youth of remarkable virtue with a very strong 
love nature. The first, known as Alpheaus, having failed 
in his attempts to ruin her, commits suicide in despair; 
the youth offers her honorable marriage and is accepted, 
by which act he foils Satan for the short space of four 
years and a half. He then determines upon a second 
attack by creating a doubt in the young wife’s mind, 
but is foiled by Orpah, her husband, in his untiring love 
for her. He then deceives the young husband into an 
act of virtue, as he supposes, by inducing him to leave 
her and live alone with God, in the wilderness, in order 
that he might once more get possession of Ardath, as 
he is entirely powerless as long as she is under the care 
and guidance of her devoted spouse. He then entrances 
her, and leads her to Prince Hassan’s Flower Garden, a 
wicked magician who has destroyed the virtue of many 
beautiful girls. Orpah and Cannek are out hunting 
and also wander in the direction of the garden. At¬ 
tracted by the many white swans they behold, Orpah 
takes aim with his arrow, and brings one to the ground 
directly in front of Prince Hassan’s throne. The Prince 


i6 


SYNOPSIS 


stoops and picks the wounded bird up and tries to 
soothe it back into composure again. Cannek, Orpah’s 
charioteer, is sent to demand the bird from Prince 
Hassan; a dispute follows by the two as to whom the 
bird really belongs. Finally matters are brought to a 
close by the intervention of Charlatan, the charmer, 
who acts as judge and decides in favor of Prince Hassan. 
Just at this point Ardath wanders into the garden, 
somewhat bewildered and dazed. Prince Hassan sees 
her first and hastens to offer her assistance, also to 
charm her into his circle. Orpah turns, and at once 
notices his evil designs and rushes up in order to rescue 
his wife from the rascal’s arms, and then challenges 
him to fight a duel. Orpah kills Prince Hassan, and 
while the duel is being enacted, Satan and the witch 
Machmas steal Ardath away and hide her in a cave in 
the mountains. Here she gives birth to her baby boy, 
whom the witch destroys. She keeps the young wife 
prisoner for two long years. Orpah has been untiring in 
his search for her, but all to no avail. At last, despair¬ 
ing of ever finding her again, he becomes a son of the 
desert, and finally, exhausted and worn out from fatigue 
and exposure, makes his way up the mountain and 
arrives at the cave the same day the witch dies. Ardath 
is poorly clad and in a starving condition and leaves 
the cave in search of food. Thus these two lovers meet 
again, both stripped of all earthly comforts, but a love 
untarnished and as fresh and bright as the day they 
first met. Orpah folds her tenderly to his bosom, and, 
the seven years of trial having expired, Satan, no longer 
having power over her soul and happiness, descends 
into Hades, leaving the husband and wife locked in 
each other’s arms, the Angel of the East triumphantly 
watching over them. 


ACT FIRST 


Scene I. The Seminary Garden of St. Regis, at Angers, 
France. Long, spacious walks of flowers, to the left a 
Porch leading to the Seminary. The Play opens with a 
chorus of lively, happy, blithesome school girls. After the 
chorus a drill is enacted by the class, followed by loud 
cheering and excitable talking, as is customary among 
school girls. 

(Ardath and the Prioress enter) 

Rhodes ( excitably, as she beholds the newcomers). Hum; 
look, girls, look, who’s coming down the walk yonder! 
(All look expectantly in the direction indicated, and chorus 
in one breath as they run to meet the newcomers.) 

Chorus. Mother Prioress! Thou should’st have been 
here to see us in our new drill. And thee, Ardath! Where 
hast thou been? We have missed thee so much, and if 
we were not sure of thy whereabouts, all would have ended 
in a very disturbed manner. 

I rah (encircling Ardath's waist and kissing her affec¬ 
tionately, as they seat themselves on one of the benches. Ah! 
Ardath, dear, I have so much to tell thee. 

I rah (curiously). And pray, fair Ardath! What dost 
know concerning our new vocal Master? It doth give me 
great pleasure to know that we, just thee and me, Ardath 
dear (kissing her affectionately on the cheek), shall be the 
first to receive instructions. 

Ardath (animated). Yes, I rah dear! I do hope that all 
will be a success, as Father seems rather anxious that his 
little girl be accomplished in those arts, becoming a lady 
of rank on leaving the Seminary. (IVith much joy.) Just 
think, I rah dear (rises and takes hold of both of Irak's 
hands), only three more years and then I will be a lady 
or rare prominence and much sought after by gallant men. 

I rah (kissing her once more). Yes, Ardath dear! And a 
great beauty, also. (Skips up the steps, stops and then, 
throwing several kisses to Ardath, disappears through the 
doorway, leaving Ardath alone with the Cherub, who ever 
shadows her life.) 


i8 


THE LADY OF THE NILE 


Ardath (sits down wearily ). What a sweet child I rah 
is, and so happy (ringing her hands). Oh! if I only knew 
what happiness really is, only for one single day of happi¬ 
ness. But, alas! (shaking her bead sadly) my poor heart is 
ever heavy and sad, ever lonely and never satisfied, always 
restless, so restless and so weary! 

(Satan enters quietly, stops and listens; Ardath 
continues sadly) 

Only one place in this wide, wide world, that my 
troubled soul finds rest, and this is in sleep; how nearly 
does sleep resemble death (rests her head on the table). 

(Satan creeps up quietly, eyes the Cherub with a 
a fierce look, spreads his hands over Ardath's head, 
and repeats slowly) 

Sleep, then, Fair One! Sleep, Sleep! 

Satan (with sarcasm). Ardath! Beautiful Ardath, thee 
and all thy charms are mine for the next seven years, 
dost hear? And a good and mighty use shall ye be put 
to, never fear. (Folds his arms, raises his eyebrows and 
ga^es with satanic hatred at the sleeping Beauty) 

Satan (contemptibly). Beauty! What is B e a u ty? But 
a miserable mask to hide the sham and deceit of woman¬ 
kind, and a bait to allure and catch men with in order to 
effect their ruin and destruction. (With a shrug of his 
shoulders.) But it is the best and only bait whereby 1 
can ensnare men and make them my slaves both soul 
and body! Ha, ha, ha, ha, ha! (A hollow, unfeeling 
laugh) 

Satan (bitterly, snapping his fingers). Thou Ardath! 
Fairest on the Nile, not another can compare with thee 
for beauty of face, or grace of figure. Talented, witty, 
bright and accomplished (wrapping his cloak tightly about 
his figure). Ah! yes, but as simple as a child in sentiment, 
and with the grace of a Queen. Yes, Thou art mine, fair one, 
for the next seven years. (In a voice of thunder.) For, 
behold! the Lord God of Hosts (pointing toward Heaven and 
bowing in deep reverence) hath given me permission to 
assail thee with all manner of temptations; should’st 
thou fall during this time, thou art mine, body and soul. 
Ha, ha, ha, ha! (Gloats over the sleeping form.) 


THE LADY OF THE NILE 


19 


Satan (in a fierce rage, pacing up and down in a restless 
manner). Thou shalt feel the smarts and darts of love 
with all its fire and passion, and shalt feel its keen pains 
and sharp delights (with great vehemence ) that a Saint 
can hardly withstand. Thy heart, Ardath, shall know all 
its secrets in order that thou mayest the better enjoy the 
pangs of a lost love. Ha, ha, ha! (A cold, hollow laugh, 
and then continues wildly.) What is a life without love? 
But a living Hell, a dungeon of darkness and despair, and 
a horrible vault of destruction; one can sooner live without 
food or air than the human heart live without love. (In 
a great despair, pulling at his hair.) Oh, God! how terrible, 
what a cursed life to live without love, and to think that 
I, Satan, am doomed forever without one ray of hope, or 
rebate, to live this life of darkness forever and ever. 
(Starts as if suddenly awakened to a horrible truth.) What 
did I say? That thou, Ardath, art mine! Nay, Thou 
are not mine, only they belong to us that give themselves 
to us with love. 

(Turns again and views Ardath with envy) 

A child of grace, rich in virtue and innocence, but so 
unhappy thou dost not know the cause of thy misery, nor 
doth the good Prioress. Bah! It is but the outcome of the 
implacable Hate I bear thy soul, that causes thee such 
bitter anguish, such restless and unsatisfied feelings; the 
want of love is fast eating thy heart and soul away, and 
this it is that causes thee so much unhappiness. Hate 
is the death of the soul, and love is its life. (Stops and 
listens to the approaching footsteps on the walk as Prioress 
and Alpheaus near, talking seriously.) 

(Satan in a mocking tone) 

Come, pensive nun, devout and pure. 

Sober, steadfast and demure. 

(Eyes both attentively, and then says aloud) 

Satan (astonished). What! She hesitates. For the 
Mother Prioress to hesitate means that my plans are lost; 
No, this must never happen. (Advances toward the new¬ 
comers.) 

Mother Prioress (pensively). You tell me that you 


20 


THE LADY OF THE NILE 


have never before given lessons to young ladies; it would 
seem to me to be a difficult task. I would much prefer 
to have some one accustomed to the instruction of young 
ladies in a seminary. 

Alpheaus (in a pulled tone). Yes! I did not intend 
coming here for that very reason, but somehow I came; 
it seems so strange to me, as I only care to instruct pro¬ 
fessional women. 

(Satan creeps up and whispers into Mother Prioress’ 
ears) 

Look at that man’s eyes; are you not ashamed to en¬ 
tertain the shadow of a doubt concerning his character. 
(Mother Prioress raises her eyes and Satan flourishes his Wand 
across Alpheaus’ eyes. They then exchange glances.) 

Mother Prioress (with decision). Well, 1 suppose if 
you are accustomed to the management of professional 
women, you should without a doubt be able to control 
our girls, as they are both young and supple, and very 
easily influenced. (Alpheaus meditates a while, then turns 
his gate in the direction of the sleeping Ardath.) 

Alpheaus (coming to a conclusion). I think I could ar¬ 
range for Monday afternoons without difficulty say 
from two until four, and then if any of the other pupils 
desired to take up harmony, why, I could arrange classes 
r \ • 6 evening. (Satan claps his hands in glee at the success 
of his plans, and makes several turns in a circular manner 
about the room.) 

(Alpheaus raises his cap respectfully and takes 
leave of the Prioress) 

Scene I I Six months elapse. Interior of the Seminary 
one of the music halls. Ten girls between the ages of 
fourteen and eighteen are having a glorious time alone 
It opens with a lively chorus by the ten girls; Rhodes is 
seated at the piano engaged in playing. The ten are grouped 
about her singing. Esther, a lively sprig, full of pranks is 
annoying Rhodes and the other girls by tickling them and 
pulling their hair. Marcella, gifted with a funny bump 
keeps them in a continual laugh by trying to act the Saloon 
dance, as she styles the celebrated “Salome Dance ’’ 


THE LADY OF THE NILE 


21 


Edith makes her debut by singing the “Blue Bells of 
Scotland.” This is followed by a game called the “Cat” 
The girls form a circle, one girl drops on her knees in 
front of one she selects, and mimics a cat’s meow several 
times; the other girl is supposed to keep a sober face and 
stroke the Pussy’s face, repeating at the same time thrice: 
“Poor Pussy, Poor Pussy, Poor Pussy.” If she laughs, 
she in turn must assume the character of the cat; this is 
continued for some time, causing great mirth and fun when 
I rah runs in breathlessly, exclaiming. 

I rah ( excitedly). Clear the hall girls, as quickly as 
possible! Mother Prioress and Alpheaus are coming. 

(The girls scramble out in a great hurry and Ardath 
enters, weary as usual. She seats herself, rests her 
head on the table and falls to sleep. I rah re¬ 
enters, but stops as she passes Ardath and kisses 
her affectionately on the forehead, sighing to herself 
and remarking aloud) 

You poor dear, so unhappy; if you were only as happy 
and blithesome as the rest of us {then hastens away, leaving 
Ardath alone with her Cherub). 

{Satan enters with his three imps) 

Aha! At last alone. For the past six months I have 
been trying to arrange matters in order to have these two 
alone. {Rubbing his hands in glee.) Today my plans 
shall work to perfection. {Turns and whistles for his three 
imps.) 

Satan {hurriedly). Here, Baal-Hazor, you lazy rascal, 
get thee to work quickly, and set the young Alpheaus’ 
brain on fire so that he will not know what he is doing 
until I have accomplished his and Ardath’s ruin; and re¬ 
member, should you fail in my orders, to the lowest Pit for 
you. 

And thee, Ball-Peor, thou miserable mink, go to the 
study and torment the Mother Prioress with such a 
headache that she will be forced to suspend school this 
afternoon; and mind thee, young sir, if you fail in my 
designs, thy punishment will be seven times seventy. 


22 


THE LADY OF THE NILE 


And thee, Baal-Hassan, thou innocent fiend, get thee 
among those young girls and make them foolish, and if 
you fail to get them in a dozen scrapes before nightfall, I 
will put thee behind bars, in a seething furnace for one 
year. {Gates out of the window and repeats in a sing-song 
way.) 

“While the Prioress sleeps, the Devil reaps.” 

(T riumphantly) 

At last! my gallant hero is coming. {Hides behind the 
curtain as Alpheaus enters, greatly agitated and very nervous, 
the imp in close pursuit. The Cherub overshadows the room 
with her presence.) 

Alpheaus {snapping his fingers). My stars, but I 
cannot stand this fever much longer. It is driving me 
insane; my brain is on fire and I shall go mad if I do not 
get relief of some kind. {Paces to and fro, the imp in close 
pursuit.) 

Satan (jeeringly from behind the curtain). Relief—he is 
talking in his sleep; the fire is at its height, and he is about 
to do some rash or desperate act, come what may. {Mock¬ 
ingly.) Now, young man, why don't you repeat the 
Lord’s prayer, “And lead us not into temptation.” You 
are one of those wise heads that do not need prayers; 
your intellect is strong enough to countenance any tempta¬ 
tion, that might cross your path. We won’t think about 
prayer now, because “ Prayer is the sword or weapon that 
keeps me at bay.” What we want is relief, for this burn¬ 
ing in the head. 

{Alpheaus looks hurriedly around, exclaiming 
aloud) 

Everything so dastardly quiet, and as dull as ditch 
water. I met one of the girls on the walk and she told 
me the Mother Prioress had suddenly been taken with a 
severe headache and they had a half holiday. I wonder 
where Ardath is? {Comes forward and finds her asleep as 
usual.) 

{Satan is bending over her but withdraws as 
Alpheaus comes near. Alpheaus stops a moment, 
ga^es around in a distracted manner, then drops on 


THE LADY OF THE NILE 


23 


one knee, takes Ardath in bis arms, rests her head 
on his bosom, kisses her affectionately, whispering 
passionately in her ear) 

Ardath, my love, awake, sweet one. Thou art mine and 
1 am thine. 

(Satan flourishes his hands over Ardath’s head and 
she awakes drowsily) 

Alpheaus {ardently). Listen, Ardath my love, listen. 
Thou are mine and 1 am thine. Thou art my very life, 
my sunshine, and it is impossible for me to live life without 
thee. 

Satan {scornfully). It will be impossible for thee to live 
with her in a few months, for I shall destroy her beauty 
that has caused her ruin, and served me so well in your 
own destruction. 

Alpheaus {passionately) . Come with me, Ardath dear, 
come to the city. I will make thee my Queen and goddess 
and provide thee with all that is beautiful to the eye. 
Thou wilt be my star; only come with me, for my whole 
soul and heart cries out for you and it is impossible for 
me to live life without thee. Why dost thou sleep so 
much, fair one? 

Ardath {half drowsily). Alpheaus! Thou sayest that 
thou canst not live without me; knowest not that when 
thou art near me I am so happy that all things in life are 
supplied, but when you depart to the city life is so lonely 
and I am so unhappy that my soul finds rest only in sleep. 
Yes, Alpheaus! Take me with thee and I shall always be 
happy, always, and never want to sleep. We will live so 
peacefully together, just thee and me. 

Alpheaus {excitedly). Come, Ardath dear, make haste; 
the Prioress is sick and the girls are all in the woods; we 
can readily make our escape. {Picks up a long mantle, 
throws it over her shoulders, encircles her waist and then 
hurries her away.) 

{Satan laughs his horrible laugh) 

The Cherub {calm and self-possessed). My child 
Ardath in the hands of that scoundrel! He shall not ruin 
her, for she is my charge and has been intrusted to my 


24 


THE LADY OF THE NILE 


care by her dying mother. I will awaken the Prioress and 
get her out of this terrible stupor that Satan has put her 
in. ( Hastens away to awaken the Prioress .) 


(The Mother Prioress enters hurriedly, ga^es at the 
clock, pointing to four) 


My, I have been sleeping a stupid sleep for two long 
hours. ( Rings the hell and Tripoli, the youngest pupil, runs 
in.) 

Mother Prioress {excitedly). The girls, Tripoli, the 
girls! Where are the girls? 

Tripoli {pointing). In yonder forest and woods, looking 
for nuts and wild flowers. 


{Mother Prioress stoops and picks up Ardath’s 
handkerchief, exclaiming) 

Ardath! Where is Ardath? Did she take her lesson 
today, Tripoli? My mind is so confused I cannot think 
rightly. 

Tripoli {slowly). Yes! She take her lesson, then she 
walk down the path with Alpheaus. I see Alpheaus kiss 
and love Ardath. 

Mother Prioress {wide awake and in horror). What 
is that you are saying, Tripoli! No naughty stories. 

Tripoli {stamping her tiny foot). I see her and Alpheaus 
go right down the walk to the station, and she have her 
red cloak on her shoulders. 

Mother Prioress {quickly). What hour, Tripoli? 

Tripoli. 1 hree o clock, and she say to me, good-bye, 
Tripoli, I am so happy now; and she throw me a kiss. 

Mother Prioress {throwing up her hands in despair). 
What have I done? Slept and that miserable man has 
taken my Ardath with him. What shall I do? My con¬ 
science warned me against that man, and has been warn¬ 
ing me right along, yet I would not take heed but went 
blindly on until the worst, the very worst has happened 
to my darling child. '{Wringing her hands in despair) 
Oh my, oh my, what shall I do? I will never forgive 
myself. This horrible crime and sin, to neglect my duty 
for a headache; I that have braved such awful pains in 
the past. 


THE LADY OF THE NILE 


25 


The Cherub (■whispering to the Prioress). Dispatch at 
once to Paris and notify the police; they are still on their 
way and can be readily stopped. Tell them to have some 
one in waiting at the station. 

( 1 One hour is supposed to elapse. The Mother 
Prioress re-enters, drops to her knees, clasps her 
hands as if in prayer and exclaims aloud) 

Saved ! 


( 1 Curtain call) 


ACT SECOND 


Scene. (Four years and a half elapse.) The Nile at night; 
Orpah’s site and residence, “ The Palace of Amor” This 
scene is magnificent with its over-hanging balcony of pale 
blue tile, rich green lawn and musky thickets. Or pah and 
Ardath are alone, and she is with child; they are seated 
on a bridal couch. Ardath is dressed in a rich cream gown 
of flimsy texture, trimmed with gold and precious stones. 
Orpah has her in his arms, trying to soothe her uncalled-for 
fear. Opens with a chorus by the Nauchet girls. 

Orpah ( passionately ). Thy life, sweet love, is linked 
to mine so closely that naught here on earth below can 
ever take thee away from me. Thou, love, art to me 
breath, and death would mean to sever us in two. 

{Ardath half rising from his bosom, buries her head 
in her hands, and starts to weep bitterly. 

Orpah takes hold of her hands gently, with heavy 
bosom, as he beholds the fast falling tears. 

Ardath kisses his hands affectionately and pleads 
with upturned face) 

Ardath. Give me, my Lord, the comfort of thy speech! 
Orpah {clasping her to his heart). What is it wrong 
with thee, my love? Come, Ardath, dearest! Tell me of 
thy woe. 

{Ardath moans and then speaks between tears) 

Alas, my Lord! I sank to sleep so happy — for the 
Babe 1 bear of thee is soon to hasten here. And O, my 
love, at the thought of this my heart beats with a double 
pulse of life and joy and love. But, lo! My slumbers were 
so strange I awakened with a terrible fright. {Laughing 
nervously and putting her arms around Orpah’s neck.) The 
thoughts whereof have caused my heart to throb so 
quick. 

{Ardath then relates her dream) 

My Lord, I saw {pointing with her hands and gesticulating 
to emphasise) a bull so white with far branching horns, 


THE LADY OF THE NILE 


27 


also a Lord so tall and stalwart, pacing through the streets 
clad as a mighty King, with a glorious star glittering on 
his breast. And then me heard a voice coming from 
afar — “Stay him, stay him! For if ye will not, behold 
the glory of the city will go forth.” Then, my Lord, 1 
wept aloud and threw my arms about his neck and strove 
with all my woman’s strength to stay this mighty King 
and Lord. ( Ardath looking terror-stricken into space, with 
great emotion .) And then he lightly tossed me free from 
my strong clasp and bursting through the bars at yonder 
gate, he trampled down the warden, and then drove on, 
passing forever out of sight. 

Orpah ( soothingly ). Ah, this, my love, my Lotus 
flower, was good to see! Why take fright at anything so 
small ? 

Ardath {with still greater agitation). Ah, yes, my 
Lord! But this is not all: for when 1 sought thy side, 
Orpah, not anything remained of thee but empty robes 
{putting her arm around his neck). And thou, O Orpah, 
art my life and light, my King, my world, my all! And, 
sleeping still I rose and saw thy belt of pearls {indicating 
with her hands) tied here below my breast when, lo! {with 
horror) it suddenly changed its form into a snake; my 
ankle-rings fell off, my golden bangles parted in twain, 
my hair turned a snowy white, and this bridal couch sank, 
sank low down into space and something rent my soul 
in two. Then far away 1 heard this awful cry, “The time 
is come, the time is come! These two must part!” My 
spirit shook with fear, my Lord, and I awoke, but O! 
the horror in my soul, perchance it means that we must 
die, or, worse than any death to me, that thou, my Lord, 
should’st forsake thy Queen. 

{Orpah bends tenderly over his weeping wife, trying 
to comfort her troubled soul with his words) 

My love, my very life; in changeless love my soul is 
thine, and Love, be comforted in this one thought: what¬ 
soever befalls thee and me, thou, my Ardath, thou art 
mine. Be sure, sweet flower of the Nile, I loved and love 
but thee alone. So, dear and nearest to my heart, take 
comfort. Ah! Thou mother of my Babe {kissing her 
affectionately) whose body mixed with mine, for this fair 


28 


THE LADY OF THE NILE 


hope art mine, now and forever more. Always have I 
loved thee, Ardath dear, and always will I love thee well. 
1 ake comfort, dearest heart, and if sorrow fall, in this one 
embrace now of faithful love, drink; in these words of 
love’s strong bend, and kiss me on my lips that thou 
mayest know that mine own heart is one with Thine; and, 
what others will not know — that I love thee most of all. 
Now, loved one, rest and sleep; for I must rise and watch 
the coming sign. 

{Ardath sleeps in her tears and sighs. 

Satan enters in a whist and ga^es in transport at 
the heavenly form) 

Satan {bitterly). Love has cured thee of thy ills and 
made thee strong; had I but known that it would work 
such wonders in thy soul; a woman now thou art and a 
mother soon to be, but of these joys thy soul shalt never 
know or feel a mother’s claim; for in this very night a 
wave shall sweep this house of love and in its stead will 
reign a cave of coldest want and hate. Thou, Ardath, 
sweetest flower of the Nile, shall taste in all its pangs and 
pains the craving of a soul for love; its raptures and 
joys have been the very substance of thy life and now 
my hour has arrived and thou shalt know its poisoned 
darts and drink the cup of dark despair. {A hollow, 
unfeeling laugh.) Ha, ha, ha, ha! 

Satan {with great dignity and reverence, pointing toward 
Heaven). He, the Master true and strong, is King and 
Author of all love; love that is life; the only road to 
Heaven’s light, containing bliss, joy, peace and ever¬ 
lasting life. 

{With Satanic sarcasm) 

I am the Prince of darkest Hades, the sole and only 
Author of Hate, spreading rebellion everywhere, sowing 
the seeds of discords; grief, sorrow and envy reign supreme 
and out of these come crime and sin, caused by the killing 
out of love. Once can I in a soul^create the shadow of a 
darkening doubt, my work is all in one complete. To 
crush out love in a living soul means eternal ruin as sure 
as stone; destruction of the soul soon follows and darken¬ 
ing of the intellectual powers. Once this bright guide is 


THE LADY OF THE NILE 


29 


clogged and dulled, and awful craving and restlessness 
grows, then passion unrelenting enters the soul, sweeping 
it on to its eternal doom; onward it rushes in sin and 
folly, racing downward into the lowest pit where hate 
ever takes the place of the realm of love. 

Satan {scheming). Ah, fairest Ardath, my idol, too; 
there remains for me now but one thing to do that I might 
gain possession of thy soul. Orpah, thy spouse, is chaste 
in love, and it would bring me naught to tempt him to 
sin, so great thy beauty and large his love that no power 
on earth can sever in two. ( Striking his forehead as if some 
bright idea has entered.) Ah, yes! Under the semblance 
of virtue and good I can readily further my designs on thy 
soul. Two classes of servants I have secured; the goody- 
good, or scrupulous soul that does more harm in a 
moment’s doubt than a hurricane cyclone on a stormy 
night. And the genteel class, that can dress up sin in 
such glowing colors and usually come racing to Hades in 
chariot coaches. Ha, ha, ha, ha! 

{Satan then conceals himself behind the portals. 
The Nauchet girls sing in sweet melody the follow¬ 
ing song. 

Sung by the Nauchet girls in chorus to Orpah at 
night) 

First Verse 

O! Prince, we are the voices of the Wind, 

Sent from on high to warn thee of thy sin — 

Rise from thy passion for this restless Queen, 

And take thy flight with us to yonder woods. 

Chorus 

The time is come, the time is come! 

This is the night, this is the night! 

Choose thou, my Lord, choose thou, my Lord. 

Second Verse 

To him that overcometh we will give 

A name of glory, far surpassing earthy Fame. 

This is the night — choose thou thy path; 

To Heaven greatness, to reign as King forever more. 


30 


THE LADY OF THE NILE 

Third Verse 

Or, hold thy sleeping beauty to thy heart. 

Then wander lone and in distress upon the earth, 

Crownless, homeless and without a child, 

Wander on forever, no rest or quiet shalt thou find. 

Chorus 

The time is come, the time is come! 

This is the night, this is the night! 

Choose thou, my Lord, choose thou, my Lord. 

{Orpah enters, cloaked. Stops, listens, and then 
starts with a cry) 

1 will depart; the hour is come! 

(Turns to Ardath as she sleeps. Or pah, with 
great affection and emotion ) 

Thy tender lips, dear sleeper, summon me to that 
which will free mankind; but sunders us. Well did’st 
thou dream the dream of truth; from yonder sky my 
fated message came. I lay aside these realms of love, my 
youth, my passion, my joys, my happiness, my Palace, 
my child — and last and most of all, thine arms, my 
gentle Queen! Harder to put aside than all things else, 
and, by my sacrifice will save thee to that dear hope that 
stirs within thy tender womb; my child, the hidden 
blossom of our mutual love. 

{Gaies lovingly at Ardath’s sleeping form) 

Now I am fixed and will depart. Never to come again 
to thee in love. For never “lie I there again!” 

{He stoops and kisses Ardath; then walks three 
times in reverence around her couch. Three 
times he starts away, and each time he comes hack, 
bends over her sleeping form and kisses her, 
repeating sadly) 

Ah, love! Thy beauty is so strong, and my love for 
thee so large. Farewell, sweet Lotus of the Nile, farewell! 
While life is young and strong I give and go. {He draws 


THE LADY OF THE NILE 


31 


the cloak around his form, pulls the cowl over his head and 
then goes down in the garden to the couch and awakens 
Cannek.) 

Orpah ( quietly knocking). Awake, my Master, awake! 

Cannek ( starting up). What would’st have, my Lord? 

Orpah ( hurriedly ). Make haste and bring to me my 
horse, Kanta. For now the hour has arrived that I must 
go. This golden prison I must quit, where my heart lived 
caged in love. Tonight, Cannek, I ride when all the 
ways are dark, to find the way of Truth which henceforth 
I will seek for all men’s sake. (He then mounts his white 
steed and rides away.) 

(Satan comes from behind the portals triumphantly, 
remarking) 

Once more, fair Ardath, thou art mine, my prize above 
all other prizes. He, thy lover, held the sway so firm my 
power was well nigh completely gone; but now, once 
more thou art mine and in my power. Awake, fair one, 
awake; and wander far among the flowers: strange 
beauties now thou must see. 

(A chorus follows by the Nauchet girls) 

(Curtain call) 


ACT THIRD 


Scene. Two hours elapse. Mount Suntern, or Prince 
Hassan’s flower garden at night. The trees are hung with 
lamps and flags of wondrous hue — blue doves, peacocks, 
purple butterflies, squirrels on Jambo trees, Nauchet girls 
in spangled skirts and bells that chime light music around 
their restless feet, sing in melody. Quail fighters, sword 
players, jugglers, charmers, swingers, rope walkers, cup 
bearers, cymballers. After the chorus, I rah, Prince 
Hassan’s slave, rides in on a red steed, clad in silver and 
gold; she is lovelier than the dawn, but makes very little 
impression on the Prince, who is half reclining on a couch 
watching his beautiful white swans. 

{Satan enters and ga^es amused at the idle Prince, 
exclaiming) 

Satan {gleefully). Ah! Now my prize has found a 
lure wherewith to ensnare this idle prince. Love will cure 
his thin distempers and weave the spell of woman’s wiles 
about his heart. What knows this mean Magician of 
beauty’s charms — her eyes will set his heart on fire, her 
lips will hold a balm so strong and hold him well nigh 
spellbound, causing such thoughts to rack his brain. “Ye 
cannot stay with brazen chains.” {Laughs bitterly). Ah! 
What a girl’s hair lightly binds — her face will seem a 
paradise to him; her form fairer than the dawn; and 
once their eyes mix in a glance, from that look will spring 
a flow of love; then we will note the change in his sad 
cheeks, and we will choose for love, with love’s own eyes 
and cheat this rascal of his prize. Ha, ha, ha, ha! 

{An arrow is whisked through the air, striking one 
of the white swans. It falls directly in front of 
Prince Hassan. He rises from his seat to rescue 
the bird, calms the quick action of its heart, caresses 
it back into composure and peace, as Cannek comes 
in to demand the bird) 

Cannek. Orpah bids me tell you, noble Prince, pray 
send him the bird. 


THE LADY OF THE NILE 


33 


Prince Hassan {indignantly). Nay, if the bird were 
dead, to send it to the slayer might be well, but the swan 
lives and throbs with life; my friend, Orpah, hath but 
killed the god-like speed which throbbed in its white wing. 

{Orpah rides in on his white steed, springs from 
the horse, shouting) 

Orpah {with great emotion). The white thing, living or 
dead, is his who fetched it down; 'twas no man's in the 
clouds, but, fallen, it is mine. Give me my prize, Prince 
Hassan; thou art not just. 

Prince Hassan {rising) Nay, friend Orpah! The bird 
is mine by right of mercy’s laws and love’s great lordliness; 
for now I know, by what within me stirs, that I shall 
henceforth teach compassion unto men. 

{Charlatan steps up and takes the bird from Prince 
Hassan remarking in judgment) 

Charlatan. If life be aught, the saviour of a life owns 
more the living thing than he can own “ Who sought to 
slay”. The slayer spoils and wastes, the cherisher sus¬ 
tains: give him that saved its life the bird. 

{Ardath wanders in, confused and dazed. Prince 
Hassan sees her first and is dazzled by her beauty; 
advances quickly and offers his assistance. She 
thinks it is Orpah and stretches out her arms to 
him. Orpah turns, and in one bound reaches her 
side, snatches her from Prince Hassan’s arms, 
draws his sword and challenges him to fight a duel) 

Orpah {passionately). What, sir, dost mean by this 
bold act; knoweth not that she is mine by all the laws of 
flesh and blood, for that within her hidden is but mine 
by right of Heaven. Stand, sir; stand thy ground, for 
blood alone will wash this out. A blot that 1 will never 
stand, for she, the maiden, is my wife. 

{A duel with swords follows, and Orpah kills Prince 
Hassan 

Satan enters on the black steed with Machmas, the 
witch, and she seduces Ardath to her cave in the 
mountains in order to get possession of her babe. 

At the end of the duel the curtain drops) 


ACT FOURTH 


Scene. Hades, or the Plane of the Dead; two years later . 

A complete darkness, with two blazon red lights with the 

following words, “Living yet Dead: Dead yet Living.” 

The Dance of the Demons is played and enacted. 

Alpheaus ( the soul of a suicide). What manner of place 
is this unto which 1 have come? It hath no water, it 
hath no air; it is deep, unfathomable; it is black as the 
blackest night; it is cold and cheerless, and men are 
wandering about helpless therein. In it a man cannot 
live in quietness of heart; what torture, what anguish of 
spirit — a Hell; a living Hell, and entirely of my own 
creation. 

Prince Hassan ( a murdered soul, in despair). A prison, 
a prison. O, God! How terrible. I cannot stand this 
horrible torture. Life, life — give me back my life only 
for one second, that I might warn men against this terrible 
torture, this sin of murder, and pride of the intellect. 

{Satan flashes Ardath through the darkness) 

Alpheaus {crying out in despair). Ardath, my love, 
my life, with all these horrible tortures, thine eyes burn, burn 
deep into my soul. O! for one moment of rest and peace. 
Ah! where has she gone? I cannot find her in this dark, 
dark dungeon. O, for one moment of life with thee, one 
moment, O Lord, one moment! 

The Soul of Charlatan, the Charmer. Thou 
miserable Prince! Why hast thou cast me thus into this 
town of the ever blind, to proclaim thine oracle with the 
open sense? Take back, O Prince of darkness, this sad 
clear sightedness; take from mine eyes this cruel light that 
almost blinds my soul! Give me back my blindness, the 
happy darkness of my senses; take back thy dreadful and 
cursed gift! For it has served me ill, and to no good pur¬ 
pose. Oh! for blessed darkness and a simple mind. 

The Soul of a Drunkard. But if I am dead, where 
am I? 1 don't think much of this place. O, for one drop 


THE LADY OF THE NILE 


35 


to quench this awful thirst. My God, 1 cannot stand 
this craving for a drink; fire, pepper, water, salt, gall, 
anything that will give me one second of relief; this awful 
craving, what torture can equal it? A drink, a drink, a 
drink! 

Fortunates {tortured). Bah, this black vicious fluid, 
and these cursed inhabitants and influences that give me 
no rest nor peace. O! for one ray of light that I might 
find my way back into earth life. Ardath, my child, 
where art thou? 1 cannot stand these terrible tortures of 
mind; all the suffering of earth are as nothing compared to 
this horrible, cold, dense, thick darkness. And O! God, how 
terrible this void, that fills my soul with horror. Is it 
possible that I must remain in this prison for centuries to 
come? 

Satan {laughing his horrible laugh). Ha, ha, ha, ha! 
My faithful servants, did’st serve me well in thy earth 
life, and it is but just that I repay thee for thy fidelity to 
my laws; all my servants are amply repaid for their 
services to me. Health, happiness, wealth and success 
crown their earthly lives; sickness, want, starvation, 
darkness and torture are their everlasting reward; how 
cunningly do I trick men into my service by a goodly 
supply of success. They forget the God that created 
them and begin to think they themselves are God; and 
1 reap the harvest of their folly and blindness. Ha, ha, 
ha — 

{The Soul of a Slanderer. 

Satan, loudly gesticulating and in a terrible rage, 
flings the broad gates of Hades open wide) 

Satan {to the Demons). Drive him far off! This cursed 
soul is far too mean and vile for Hell. 

{A miserable wretch is chased by demons, imps 
and devils, and hurled through the open gate) 

Satan {turning to the Gate-Keeper). And you, Gate 
Keeper, woe betide, if e’er within these walls is seen, 
another being half as mean! 

Fortunates {curiously). Pray tell me, Satan, who 
may that wretched being be? 


THE LADY OF THE NILE 


36 


Satan ( with a grinning smile of ghastly mirth). Naught 
save a wretched Slanderer from the Earth. 

(.Starting back) 

Bah, what is this terrible thing coming? 

(A great noise is heard, as if the earth were sundered, 
and Machmas, the last of Satan’s accomplices, 
arrives) 

Satan {startled). What does this mean? Machmas 
returning to me? 

Machmas {with a howl). Yes, traitor, it is 1, Machmas, 
thy cursed dupe in crime. I destroyed Ardath's baby 
but the Angel came and took its spirit away. And my 
hour arrived; and the God of all and over all, commanded 
me to depart; and here I am in this dungeon of darkness 
and despair. 

Satan {bitterly). Yes, miserable hag, thy day of reckon¬ 
ing has arrived; how many tiny babies hast thou not 
destroyed by thy cursed art. Now thou shalt forever 
fellowship with this cursed clan. For, behold, this day 
my hold on Ardath hath expired, and she has triumphed, 
by her virtue and goodly life. And Orpah, her spouse, 
has vanquished me by his chaste, unselfish love for her. 
Henceforth and forevermore they are One. For “Love 
hath triumphed over Hell.” 

{Orpah wanders up the side of the mountain, stops 
and sits down, wearily, to rest himself. Ardath, 
clad in rags and in a starving condition, opens the 
cave door in order to search for some food; she thus 
encounters Orpah. He springs to his feet, and 
folds her tenderly to his heart; they are stripped of 
all earthly possessions, hut rich in love and virtue; 
both are radiant with happiness. 

Curtain call, and the Nauchet girls sing a melody) 


THE LADY OF THE NILE 


37 


MEDIAEVAL PERIOD COSTUMES 

There was no absolute fashion at this time. Every 
household had its own style of dress so far as detail was 
concerned. The general type, however, consisted of loose 
robes, belted at the waist, with flowing mantles. Rich 
gold neck pieces and small gold crowns with magnificent 
veils were worn on the head and over the shoulders. 


* 






I 


THE AGITATOR 

A GREEK TRAGEDY 
IN FOUR ACTS—SEVEN SCENES 


TIME AND PLACE 

Scenes: Syria, Patras and the City of Athens, Greece. 
Period: Latter part of the 5 th Century before Christ 
(B. C. 500 ). 

Time of Action: Ten years. 


THE AGITATOR 

PERSONS REPRESENTED 
Men 

Saffo: an overseer — a philosopher — “The Agitator.” 

Cletus: a wealthy gentleman of Athens, future husband 
of the Lady Flavia, better known as the god of “Air.” 

Critices: Governor of Athens, Judge and Tyrant; known 
as the god of war. 

Delphi: the Wise, a friend to Saffo, better known as the 
god of wisdom, with insight into futurity. 

Pascal: Lady Flavia’s father, known as the god of the 
hunt and chase. 

Thales: Lady Flavia’s friend; a scholar of Saffo, known 
as the god of the ocean. 

Meletus: the god of learning, also scholar of Saffo. 

Ayntus: the god of fire, a scholar of Saffo. 

Corfu: a man of Patras, the god of commerce. 

Cebes: a gentleman of Constantinople, known as the 
god of the vineyard, a great jester. 

Zeno: known as the great of Athens, the god of eloquence. 

Grote: a poet and friend to Saffo. 

Ariel and Nester: two slaves to the Lady Flavia. 

Lords, ladies, guards, attendants, chorus girls and dancers. 

Women 

Lady Flavia: the goddess of chastity, the pride and 
glory of artistic Athens — a lady of rank. 

Phebe: a coquette, daughter of Ustaces, the owner of a 
large olive plantation in the South of Greece. 

Carmon: a courtesan, the goddess of sensual desire. 

Aspasia: a wealthy lady of Greece, better known as the 
goddess of grace and beauty. 

Cleophas: the wife of Meletus, the goddess of hearth and 
home. 

Hera: the wife of Critices the Governor, a veritable 
storm, the goddess of the dead. 

Ladies, guards, attendants, chorus girls and dancers. 


ACT FIRST 
Scene First 

An olive orchard in the South of Greece. (Opens with a 
quartette.) Phebe and Saffo. The separation. 

Scene Second 

Five years elapse. Saffo’s retreat on the Island of Syra. 
“ The Hunt.” The meeting of Saffo, Critices, and Delphi, 
the Wise. 


ACT SECOND 
Scene First 

The Ionion School of Philosophy. (Opens with a quartette.) 
“The Agitator.” Seeking Truth. 

Scene Second 

The Market Place at Patras. The meeting of Phebe, Saffo 
and Carmon. 


ACT THIRD 
Scene First 

The garden at Athens. The meeting of Saffo and the Lady 
Flavia. Their love. 


Scene Second 

Interior of Lady Flavia’s Palace. The supposed wedding 
and death. 


ACT FOURTH 
Scene First 

Interior of the courtyard. The trial and death sentence. 


SYNOPSIS 
Act First 

SafFo, a young and handsome Greek, ambitious, but 
poor, with a certain daring that will not brook a rival, 
meets and becomes infatuated with Phebe, the daughter 
of Ustaces, the owner of a prosperous olive plantation 
in the South of Greece — a winsome miss of sixteen 
years, vain, frivolous and coquettish, who tries first 
by winning his affection, then assuring herself of her 
victim, coolly casts him aside, telling him that she 
was only trifling. He, a very earnest and serious 
temperament, not succeeding in his endeavors to win 
her, and stung to the quick by her pert remark, will 
not suffer his wounded pride to become the sport of 
his fellow harvesters, starts in search of wisdom and 
knowledge. With the money in hand he selects a 
number of manuscripts, and retreats to the Island of 
Syra, remaining in solitude five years. Critices, the 
Governor of Athens, also owner of the island, in com¬ 
pany of his faithful friend Delphi, and a number of 
other huntsmen, makes a round of investigations. 
They thus discover and make the acquaintance of 
Saffo, who has advanced in wisdom and learning. 
Critices hearing of his long abode on the island, and a 
tyrant by nature, determines upon his immediate death, 
but Delphi, who has taken a fancy to him on account of 
his learning and wisdom, pleads for him, and suggests 
for punishment that he be sent to the “Ionion School 
of Philosophy” to instruct the scholars free, adding at 
the same time to Critices, "The man will prove an 
excellent dupe to undervalue some of those proud and 
haughty Athenians.” 


Act Second 

Saffo then makes his appearance at the “Ionion School of 
Philosophy,” and there earns the name of “Agitator,” 
by his many conflicting questions. He remains three 
years at this school, and then proceeds to Patras, and 


44 


THE AGITATOR 


encounters Phebe, his former sweetheart, in the com¬ 
pany of Carmon, a courtesan. She is as coquettish as 
ever, and does not recognize Saffo, her former sweet¬ 
heart of eight years ago. Instead is quite taken by his 
noble bearing and attractive personality, and not being 
over virtuous and very vain, strives with all her might 
to attract him. Failing in her attempts, she takes 
Carmon into her confidence, to assist her in her pranks. 
Saffo, however, recognizes her, and is ready for all her 
caprices, finding it fun or play as she did eight years 
previous. Carmon, although a public scandal, recognizes 
the true Greek man and refuses to use her arts to 
ensnare him, for, said she, “The gods may credit this 
one unselfish act to my account, and who knows but it 
may stand me good some day?” Saffo, divining her 
pure intention, thanks her in his heart, and he promises 
to protect and assist her. He tells her of his intentions, 
and she, glad to receive the assistance of so good a man, 
promises to reform. Saffo then continues his journey 
and stops over night in the city of Athens, at the palace 
of his friend Pascal, before proceeding on to Con¬ 
stantinople. 


Act Third 

On the evening of his arrival at Athens, he proceeds to the 
home of Pascal, and there in the garden of this magnifi¬ 
cent palace he meets and falls deeply in love with the 
beautiful Lady Flavia, daughter of Pascal. He is not 
so much attracted by her personal beauty as the bril¬ 
liancy of her mind. “Ah,” he exclaims, “a maiden 
after my own heart.” The Lady Flavia is attracted 
chiefly by his noble bearing and manly character, and 
becomes enraptured by his purity of speech, sighs, and 
wonders why her father did not bring Saffo sooner to 
the palace, having heard him speak so highly of him, 
“For,” said she, “I would not be obliged to marry the 
coarse, handsome Cletus, whom I never really did like 
and whom I now despise with my whole heart.” After 
a brief interview with Pascal, with a cordial invitation 
to attend the wedding of his beloved daughter, Pascal 
retires for the night, leaving the Lady Flavia and Saffo 


THE AGITATOR 


45 


alone. In the course of the evening they of a sudden 
recognize their kindred souls and tastes, and Saffo 
then and there confesses his great love for her. The 
Lady Flavia listens quietly and determines that she will 
never marry Cletus. Just as Saffo is in the act of con¬ 
fessing his love, Cletus passes quietly through the 
garden unnoticed, marks the changed countenance of 
Lady Flavia, as well as the expression on Saffo’s face. 
He then and there plots their ruin, remarking to him¬ 
self, “She doth not love me, neither shall she enjoy 
him.” Saffo, all unconscious of the jealous feeling 
created in the heart of Cletus, leaves the Lady Flavia 
with a heavy heart, assuring her he would return as 
soon as possible, at the same time trying to form some 
plan to prevent the marriage between Cletus and her 
ladyship, thinking the while how little deserving the 
beastly Cletus was of the Lady Flavia, saying to him¬ 
self, “Although she hath withheld her love from me, I 
heartily believe she doth love me, as surely as I love 
her, for ye gods, my heart is all aflame." The following 
morning the Lady Flavia returns to the garden, pacing 
to and fro, planning and crying by turns. Her two 
faithful slaves, Ariel and Nester, noting the distress of 
their fond mistress, approach her to learn the cause 
of her grief and tears. She then tells them the secret 
of her heart, and they promise to assist her as much as 
possible in hastening her departure from the palace. 
At length, a bright idea strikes them. They decide to 
journey to Patras, and thence to Rome, and remain in 
hiding until she can get an interview with Saffo, who 
will fully understand her intentions. Then fly to Con¬ 
stantinople and marry quietly, and live in peace and 
happiness the remainder of their lives. Her two faith¬ 
ful slaves hasten to make the necessary arrangements for 
their departure, for everything must be ready by sun¬ 
down. Cletus, who has remained in hiding all this 
time, now comes forward, coolly and cunningly concocts 
a plan and works it successfully. My lady has re¬ 
mained the best part of the day in the garden, walking 
to and fro, hoping that Saffo will call once again to see 
her. She will then let him know of her plans. While in 
deep thought, she encounters a drone, old and bent. 


4 6 


THE AGITATOR 


Her heart a tender one, and always well supplied with 
gold, extends her aid to him. He in turn notices her 
great anxiety and inquires the cause, adding at the same 
time that he hopes her ladyship will look brighter and 
happier in the evening, it being the eve of her wedding, 
whereupon the unhappy lady falls to weeping and 
sobbing. The drone advances and asks her the cause 
of her tears, as he might be of some service to her, 
having in his possession one of the most powerful charms 
of Egypt. She then tells him of her approaching mar¬ 
riage, her dislike for Cletus, and her great love for 
Saffo. The drone, on hearing this, speaks very con¬ 
solingly to her, and gives her a tiny box with a single 
tablet in it, telling her to take the same ten minutes 
before the wedding; that if she followed directions 
carefully, her intended husband would of a sudden 
conceive such a hatred of her that he would call the 
marriage off himself, and she would then be free to 
marry her beloved Saffo, without taking the trouble to 
run away. Lady Flavia, a believer in the charms of 
Egypt, as was common among the Greek ladies, 
promises to do as directed, and hastens to the palace 
to tell her two slaves to discontinue their preparations, 
as all would end well. The drone, however, before 
leaving, disposes of the other tablet in the cloak of 
Saffo, lying carelessly over the back of a chair. Every¬ 
thing is now in readiness. The palace is ablaze with 
lights, and decorated with beautiful flowers. The 
guests are all assembled, feasting is at its height. Joy 
abounds, and every one is in readiness for the approach¬ 
ing ceremony. The Lady Flavia is exceptionally bright; 
so much so, she sets Saffo doubting as to whether she 
really does care for him. “My stars!” he exclaims, 
“ 1 would have been willing to stake my life, last night, 
as me beheld the love light in my lady’s eyes, that she 
loved me, and it surely can not be otherwise. But, 
why this excessive mirth on her part? Is she trying to 
deceive me or mislead Cletus, finding it impossible to 
escape this forced marriage?” Lady Flavia, however, 
is watching the sand dial and within ten minutes of the 
specified time disposes of the tablet. At the same time 
a toast is extended to the Lady Flavia, and Saffo passes 


THE AGITATOR 


47 

her a phial of wine. She changes immediately after 
taking the wine. The wedding chimes begin to plav 
the wedding march. She rises to her feet, staggers 
and falls dead. Saffo, all unconscious of the tragedy’ 
hastens to her assistance, only to be stayed by the hand 
of Cletus, who is bending over his beautiful bride, pain 
and remorse depicted on his countenance. He rises 
suddenly to his feet and pretends to learn who passed 
her the wine. Whereupon Saffo makes answer, “1 
passed her the wine.” Cletus: “Then you, sir, are her 
slayer, for she hath been poisoned!” “Poisoned!” the 
guests all exclaim, in chorus. Saffo protests his in¬ 
nocence all to no avail. He is roughly seized by the 
men, and would have met with certain death but for the 
interference of Pascal, who asked that he might stand 
trial, as behooves a true Greek. 


Act Fourth 

Saffo now thinks that his lady poisoned herself for love of 
him, rather than marry the hated Cletus, and has no 
longer any desire to live. He is taken prisoner, searched 
tried and found guilty, on account of the tablet con¬ 
cealed in his cloak. On being examined by experts, it 
is found to contain a deadly poison, such as was used 
to destroy the life of the Lady Flavia. Saffo offers no 
further protest, not caring for life, is taken immediately 
to the place of execution. Cletus, anxious to see the 
end of his hated foe, mounts his horse. The horse 
rears and throws him to certain death. 


GENERAL DESCRIPTION OF CHARACTERS. 
FIFTH CENTURY, B.C. 

Saffo: A young philosopher, in search of truth, with an 
indefinite idea of supreme power, better known as the 
“Agitator” because of the many conflicting questions 
he asks. Personality: a powerful physique, possessed 
of great beauty of face and symmetry of form. Skilled 
in gymnastics and all the arts of the Greeks. Bearing: 
always calm and dignified. Manner: genial, cheerful, 
and engaging, as becomes a true Greek; proud, given to 
much meditation and deep study, with a ready wit and 
spontaneity in genius; an affectionate admirer of talent, 
beauty, grace and art. A true Greek in sentiments, 
with a patriotic devotion to his country. He never 
remembers his social position, but always acts as if he 
is well known and prominent. These qualities make him 
very popular and attractive to the young and old alike. 
He is exceedingly original in his thoughts, words and 
acts, and will not brook a rival. He is tolerant of 
human weakness, and gives the best of advice. The 
only noticeable peculiarity in his conversation is the 
habit of asking questions, sometimes to gain informa¬ 
tion, more often to expose pretentious men to ridicule 
and laughter. He professes to know little, and yet 
turns every one else to ridicule by his puzzling questions. 
Costume: A loose white tunic reaching to the ankles; 
his feet sandaled, and a white cloak thrown carelessly 
over his shoulders. 

Cletus: The god of the Air and Ruler of the Atmosphere. 
Personality: a powerful physique, with a character the 
combination of strength and weakness; a sensual 
nature, inclined to self-indulgence; independent of the 
result of his good or evil actions; highly intellectual, 
yet subject to the basest crimes and passions. Coarse, 
handsome, quarrelsome and jealous, with no thought 
of justice or right, no aspirations higher than this life; 
no fear of punishment or a future state. With but one 
idea paramount in his mind, his immense strength, 
that if he had hold of one end of a chain, and all the 


THE AGITATOR 


49 


gods in creation held the other end and the earth fastened 
to it, they would be unable to move him. Apart from 
feasting, love-making and enjoying all the glories of 
nature, and gaining all he desired in this world, he had 
no other aim but revenge. Costume: a loose fawn 
tunic reaching to the ankles, his feet sandaled, and a 
light purple cloak. More often he wore a white tunic 
with a deep red cloak and a thin gold band on his fore¬ 
head. 

Critices: The God of War; also judge and tyrant; cruel, 
little thought of law where his own interests are con¬ 
cerned, though usually very exacting with others, 
especially if the case were in his favor. Fond of women 
and pleasures. Always thirsting for blood, and on the 
lookout for his so-called grievous offences, where he 
might exercise as well as satisfy his desire for justice 
and revenge. A victim to the rage of his august wife, 
Hera. Costume: usually wore a dark blue tunic, with 
a blood red cloak and a deep crown of red copper on 
his head, as a symbol of war. 

Delphi: The God of Wisdom, with insight into futurity; 
calm, quiet and sedate; with a generous and kind 
heart, loyal to friends in spite of their shortcomings; 
true to conscience and duty. A staunch friend to 
SafTo. His only fault is old age. Costume: a dark 
crimson tunic, trimmed with a narrow gold band, a 
black cloak edged with gold, and a narrow band of gold 
mounted in front with a crescent and star, to denote 
wisdom. 

Pascal: The God of the Hunt and Chase. Fond of 
outdoor sports and feasting. A good-natured and 
kind-hearted friend to every one. He has only one 
fault, and that is trusting all to others. Father to the 
Lady Fla via. Costume: usually wore a pale green 
tunic, edged with gold, and a crimson cloak. Sometimes 
he was seen all in a rich cream edged in gold; wore a 
tiny gold band on forehead, denoting a man of rank. 

Thales: The God of the Ocean. Rough, weather-beaten; 
boisterous, vindictive; cross him, or bring a truth 
home to him, and you become his enemy. Costume: 
tunic and cloak of sombre, edged with gold; a band of 
sea green around his forehead, a symbol of the ocean. 


50 


THE AGITATOR 


Meletus: The Sun God of Learning. Very humorous 
and poetical; kind and very fond of the good things 
of this life. Rich and much sought after. A great 
admirer of beauty and the fine arts; always ready with 
a song and the harp. His only failing is the fondness 
he displays for feasting and pleasures. Costume: a 
tunic of azure blue, edged with a black band, and a cloak 
of golden brown, with a wreath of laurels on his head. 

Ayntus: The God of Fire. A quiet and peaceful, strongly 
built man, assuming a minor part in the play; also 
scholar of the Ionion School. Costume: cream tunic 
and a pale green cloak to harmonize, a band of corals 
around his forehead. 

Corfu: A Man of Patras, the God of Commerce. A 
strong, dark, handsome man, who earned the name of 
god of commerce by his tricks. He could drive a bargain 
and gain his point, cheating you at the same time, 
before your eyes, in spite of all protests on your part. 
For untruths no man in Patras could outwit him, and as 
for dishonesty, he was king of the market. He made 
more money in one hour by his dishonest dealings than 
an honest man could make in a lifetime. His one failing 
was the inventions he resorted to in getting out of 
trouble, and keeping shy of authority. Costume: 
usually wore bright warm colors, and a silver band 
on his forehead, a symbol of commerce. 

Cebes: Known as the God of the vineyard, a large full, 
man, with a very red face, and always in a perspiration 
and bellowing for breath, so fat and awkward, clumsy 
and lame, that caused him to fall continually over his 
own and everybody’s feet. He keeps every one in a 
continuous laughter by his good-natured jests. Can 
drink more wine than any other man in Athens, yet 
he has never been found intoxicated. A good-natured 
all-around chappy, with but one fault, that is bumping 
into the ladies, winning their contempt and disfavor. 
Costume: always wears a bright red tunic and cloak, 
with a wreath of red corals on his head; feet sandaled. 

Zeno: Known as the “Great of Athens,” the God of 
Eloquence. Very massive and imposing; a scorner of 
all follies. Costume: tunic of flowered orange silk, 
with a cream cloak. 


THE AGITATOR 


51 


Grote: The God of Poetry; companion to Meletus in 
his songs and music; also scholar of Saffo. Costume: 
lemon color tunic and cream cloak, with a wreath of 
laurels as head dress. 

Ariel and Nester: of the dark type; manner always 
respectful and quiet. Costume: always in white tunica, 
girded at the waist, with immense gold earrings, and 
bands of gold on their ankles and forehead, in the 
shape of a crescent, mounted in front with a gold star. 

Lady Flavia: The Goddess of Chastity, the pride and 
glory of artistic Athens; the protectress of virgins and 
matrons; the celestial mistress of the nation. A tall 
slender, graceful semi-blonde, with hair reaching far 
below the waist of a rich golden hue. This hair is her 
crowning glory, with clear cut features, and a typical 
Grecian form and a voice like a nightingale. A most 
joyous temperament, a charm of manner all her own, 
winning the hearts and regard of all with whom she 
came in contact; a known peacemaker, and much 
sought after by men of letters. Very sensitive and 
loving; extremely eager about details; keenly and 
humanly interested in life and all the beauties of nature, 
with a mind as strong and reasoning as a man’s. This 
intellect won Saffo, for, said he, “A maiden after my 
own heart.” Costume: she wears her hair in simple 
braids, after the fashion of the Greeks, with a circlet of 
gold studded with precious stones. Her costumes are 
so chaste and simply bewitching, with their loose, 
graceful pallas and tunic, with loose sleeves falling 
gracefully over the shoulders, partly displaying the 
beautiful arm, encircled with two wide bands of gold, 
one a little above the forearm, the other at the wrist. 
At times she wears a rich lace veil loosely over her hair; 
the feet are sandaled. The first garden costume is of 
pale blue, trimmed with silver. The morning gown is 
of a rich cream edged with gold. The wedding gown is 
of snowy white lace of the finest make, with a flowing 
mantille of Grecian design, a small jeweled crown, 
from which a fine spider veil hangs gracefully over the 
shoulders, completes the garb. 

Phebe: Is a nymph of the woods, a mere physical beauty; 
silly, vain and frivolous, with but the shadow of a 


52 


THE AGITATOR 


character; utterly odious from a moral standpoint, and 
mentally contemptible. A girl devoid of brains, with 
but one aim in life, that of attracting men and making 
coxcombs of them if possible. Costume: tunic of pale 
lavender, with a pink pallas and a white veil; her feet 
sandaled. Later she is seen in an all-lace costume 
edged with silver, with a suitable veil to match. 

Carmon: The Goddess of Sensual Desire. The impersona¬ 
tion of all that is weak and erring in woman; exerting 
a great influence although despised. Fascinating and 
revolting at the same time; admired and much sought 
after, although corrupting, with all the qualities of a 
public scandal. Costume: tunic of pale orange, 
trimmed with a black edge. She wears a double girdle, 
studded with gems, the upper part encircles the waist 
and the lower belt fits over the abdomen with an ex¬ 
tension back and front, so as not to disjoint the fit. 
The tunic is so long that it completely covers the feet. 
She wears a great display of jewels, her hair hangs 
loosely over her shoulders, and a thin figured lace veil 
edged in gold to match the tunic. This veil or man- 
tille is of black, and is worn loosely over the hair, falling 
gracefully over the shoulders as a mantle, the ends are 
carried over the arms. 

Hera: The Goddess of the Dead, wife of Critices. A 
veritable storm, that thundered and shook Olympus. 
Proud, vindictive and jealous. She scolded her august 
husband so perpetually that he complained before the 
gods. Costume: usually wore a red tunic trimmed 
with black, and sometimes a purple trimmed with gold. 

Aspasia: The Goddess of Grace and Beauty, with all the 
feminine qualities that make an attractive wife. Wears 
a buff tunic trimmed with bands of pink. 

Cleophas: The Goddess of Hearth and Home. Silent, 
steady, unobtrusive; condescending, chaste and sober- 
kindly disposed and ever ready to offer a helping hand. 
Wife of Meletus. Costume: tunic of cream, trimmed 
with gold. The pallas of light tan. 


ACT FIRST 


Scene First. A large, spacious olive orchard in the South 
of Greece. Four arches or avenues of thick foliage of trees. 
In the background is a small awning erected, under which 
is a bonfire and a swinging kettle. Opens with a full 
quartette of harvesters, after which all depart. Saffo 
enters, dressed as a harvester, in red. Hurriedly mopping 
his brow, exclaiming at the same time, in a joyous voice, 
“Ah, ah; my sweet wild flower cometh.” Stands in 
an expecting attitude, and slowly approaches as Phebe 
dances in. Phebe enters, dressed in nile green and pink. 
She dances gaily in, a rose pressed to her nostrils, hum¬ 
ming. She stops suddenly and sings in a clear loud voice, 
“ The Woodthrush and Sparrow,” Saffo, in all his youth¬ 
ful dreams, then joyously advances to where Phebe stands, 
and sings quietly, “ The Master Power.” He kisses her 
at the end of the third line of the second stanza. Phebe 
listens quietly, fingering the rose, and just as Saffo reaches 
out to embrace her, she suddenly flings the rose away, with 
a snap of her fingers, and a toss of the head, exclaiming at 
the same time. 

Phebe. So much doth me value thy love. Dost 
think that I, a planter’s daughter, would marry thee, 
naught but an overseer? It behooves me to seek some¬ 
thing higher and more worthy than thee. (Then skips 
merrily away, leaving Saffo in a piqued frame of mind, 
looking with regret and bitterness after her, the taunting 
words burning in his ears. He muses aloud ) 

Saffo. Naught but an overseer. Methinks my lady 
has suddenly grown very high-minded and frivolous. 
Surely she hath behaved herself as if she did care a trifle 
for me (in deep study), or is it possible for a maiden to 
deceive so basely? ( Contemptuously .) Ah, ye gods, to 
think that that vixen hath so foiled and deceived me! 
(Paces up and down in a sort of rage. Stops as if somewhat 
appeased, then says aloud.) It behooves me to betake 
myself to the wilderness, and there remain until this 
storm in my bosom is somewhat abated, for my stars, 


54 


THE AGITATOR 


Saffo, thou canst not face thy fellow harvesters. ( Sits 
down and rests bis bead in bis bands. Chorus enters. Saffo 
rises and the chorus sings a suitable quartette.) 

Curtain 


Scene Second. Saffo ’s retreat on the Island of Syra, facing 
the AEgean Sea. A complete wilderness and thick forest of 
trees, with a small rocky cave to the right, with a single 
mossy incline that serves both as a bed and resting place. 
Five years elapse. Saffo is seated on a mossy incline, 
reviewing a manuscript he has just completed. He rises 
and reads it with great feeling to the audience, entitled, 
“Alter Ego” (the other self.) He seats himself again and 
rests his head in his hands, as if troubled, then rises and 
paces up and down in a restless manner, exclaiming in a 
disturbed voice. 

Saffo. My stars, what doth cause this great unrest 
and anxiety in my bosom? Methinks the dream of last 
night hath left me greatly disturbed, and awakened again 
in my bosom slumbering passions and longings of bygone 
days. Naught can now satisfy me, until me beholds in 
the flesh the object of these ardent longings. ( Saffo then 
sings, "Desideratum.” Saffo then throws himself in a 
half reclining position on the mossy bed, and repeats, in a 
mellow voice, this reverie.) Last night, as me lay asleep, 
lo in the distance me beheld a vision of glory, the like 
me hath never seen before — a vision of her whom I 
loveth, with a strength of soul never before felt. She 
dawned upon me in all the hidden glory of her maidenhood, 
with a brilliancy far beyond description, and adorned 
with the priceless jewel of chastity, gentle, sweet and 
loving, possessed of all the feminine graces that make a 
man either strong or weak, a coward or hero, a slave or 
master. {Saffo sits up.) Ah, what is it that holds one 
enchanted, when in its presence, and causes an insatiable 
longing when absent; that ravishes the soul with such 
torrents of pure delight that no other force can exceed its 
transports? What is it? No other power than the price¬ 
less gem of chastity, as swift and terrible in its course as 


THE AGITATOR 


55 


the lightning flash. What did I do, ye gods, but reach 
out into space and embrace this vision of delights, and 
wonder of wonders, she the joy of my heart returned the 
embrace. Ah, for the pleasure of one glance into those 
heaven-lit eyes of this golden-haired beauty, would cause 
me to forego the peace and quiet of my lonely hamlet the 
remainder of my life. Can it be that she liveth and de- 
sireth me, even as me longeth for her? 

{Saffo is interrupted in his reverie by the repeated 
sound of the buglehorn. He rises to his feet, harkens 
to the approach of horses’ hoofs; with loud clamor¬ 
ing, the barking of dogs, the sound of the buglehorn, 
an excited party o f horsemen gallop in, among 
whom are Critices the Governor, Delphi and Pascal. 
A gallant and lively quartette follows the hunters, 
after which Saffo comes forward to salute the 
strangers) 

Critices {In a loud, boisterous manner, whip in hand, 
advances to where Saffo stands, and eyes him critically from 
head to foot, remarking at the same time). Pray, sir, and 
who art thou, and whence thy coming? {Then turning to 
the hunters, in a jest remarks.) Behold, gentlemen, the 
first fruit of our hunt and a goodly sized beast at that, 
and well worth the wild chase to capture. {Chorus, “Ha, 
ha, ha, ha;” turning to Saffo, he demands, coarsely.) Pray, 
sir, whom mayest thou be, and whence thy coming? 
Dost not know that these grounds belong to me, the 
Governor Critices, the fear and terror of all Athens? Or 
from whom dost thou receive the privilege to inhabit this 
island? 

Saffo. Pray, noble lord, it has been my pleasure to 
dwell in peace and quiet here the past five years, to 
advance in wisdom and learning. My name is Saffo, and 
former occupation, an overseer for the honored Ustaces, 
on an olive plantation in the South of Greece. I crave 
thy pardon, noble lord, if my presence here on the island 
disturbs thee or provokes thee to anger. 

Critices {only the more excited and enraged, remarks). 
Doth know the penalty for such transgression? Sure 
death? No man committing such a grave offence and 
crime as this has ever been pardoned, and thou, wicked 


56 


THE AGITATOR 


man, shall be punished to the full extent of the law. 
Know, sir, that me art the god of war, which means fight 
and death to all transgressors, and this is the most grievous 
offence committed during my reign as Governor. ( Turns 
in anger to the guards and cries.) Seize the beast and tie 
him to yonder tree; then pit his miserable body with 
arrows; thence carry his corrupted carcass to Athens as 
an example to all "free livers and free thinkers.” {Saffo 
is seized by the guards .) 

Delphi (at the close of this outburst steps forward and 
intercedes for the unfortunate Saffo, speaking thus). Nay, 
my lord; stay thy vengeance and thy anger. Remember 
that haste accomplishes naught. The man is exceptionally 
bright and witty. Canst not see that he is not of the 
ordinary type? Pray, hold fast and make thee a friend 
that will prove of great value and help to thee and me. 
For punishment, place him in the "lonion School of 
Philosophy.” {Aside.) This man will prove an excellent 
dupe to undervalue some of those proud and haughty of 
Athens that like thee not. 

Critices {abated by this wise counsel, turns to Saffo, 
remarking). Know, sir, that I pardon thee this greatest 
of all offences, and spare thy miserable life for no other 
purpose than this: that thou serve me faithfully and well 
in the “lonion School of Philosophy;” from henceforth 
thou art my dupe, and see to it that thou prove thyself a 
worthy one, and when it pleases me I shall set thee free. 
In behalf of this greatest of mercies thou hast no one to 
thank but the good and wise Delphi, my counsellor. 

{A chorus follows) 


Curtain 


ACT SECOND 


Scene First. The I onion School of Philosophy, a long 
pavilion, supported on four massive columns, overlooking 
a garden, one long bench of walnut wood, the head a carved 
wing, and claw feet for legs. This bench is one and a 
half foot above the floor level, sloping gradually downward 
within four inches of the ground, as used in ancient times. 
Twelve strong, powerful men, all engaged in deep study. 
Some are seated along the bench, some are half lying on the 
floor. Three are standing in a group in a hot argument. 
Others are writing from manuscripts, as books are not yet 
in use. All without exception are deeply interested in their 
master and his teachings, among whom are Mcletus and 
Grote, poets; Zeno, Ayntus, and Thales, philosophers; 
Pascal, Cletus, Corfu, and Cebes, men of wealth and 
rank; Critices, the Governor, and Delphi, the wise, are 
seated at the head. Saffo is standing, facing the scholars, 
pulling them with his convicting questions. He brings up 
the question of life, to qui{ his scholars. Opens with a 
quartette by the scholars. Saffo puts forth the question: 
“ What is philosophy? — but a history of errors, not follies 
— and, gentlemen, we are assembled here to confute, or 
ferret out, the principle of life”) 

Saffo. What constitutes life? or in your opinion 
what is the real cause, or principle, of life? 

Thales (rises). Behold, me hath gazed around and 
looked upon nature, and methinks my statement correct, 
when me sayeth that water or moisture is the vital part, 
or principle, of life. For It is felt in the air, It can be 
seen in the clouds, It is above and below the ground. The 
plants are sustained by rain or dew, and neither man nor 
beast can live without It. Water is the native element 
of fishes. Everything withers and dies without moisture 
or water. What, then, can be more important or vital 
than water? It is the prima materia. The beginning of 
all things. 

Ayntus (rises.) Far be it, Friend Thales, the prima 
materia is fire, since all things animate and inanimate are 


58 


THE AGITATOR 


convertible into fire. This fire or so-called fluid, self- 
kindled, permeates everything living, as the soul or prin¬ 
ciple of life. It is endowed with intelligence and ceaseless 
powers of activity; it is the moving power of the universe, 
and human beings also, since to destroy heat in the body, 
or kill It out means death. A body in full bloom of life, 
possesses heat and warmth, and a dead carcass is devoid 
of this heat and warmth, hence we have death or decom¬ 
position. 

Delphi (rises). Me thinks, Friend Ayntus that thou 
art wrong, for there is life within my body that me canst 
not call my own, in the very highest sense. It is my own 
self, without which me would be very poor and entirely 
helpless, and the loss of It would isolate me from every 
living creature, and all interest and loves in life, and 
would make of me a miserable carcass fit only to be cast 
out into exterior darkness. There looms up within me a 
universal life, connecting me with all living creatures, 
without which there could be no real life. 11 is the absolute 
source and original fountain of all living created things. 

Zeno (rises). Thou art near, very near, the truth, 
Friend Delphi; but me thinks that me canst tell thee the 
real cause of life, or the something within thee called 
Thyself. It is the moving force of all nature, called 
“Intellect.” Intelligence is the real cause of life, and the 
ruler of order, without which this world could not exist 
one single moment — mind is the principle of motion, as 
well as of “Action.” This intelligence is simply the primum 
mobile. It is the all-knowing motive force in the universe, 
by which the order of nature is effected. Mind or Thought 
and intelligence all know and act. It is the root of all good 
or evil acts, since to think is to live. Mens agitat molem; 
that is, mind moves matter. (Baffled.) Hence not any¬ 
thing is certain; sense is limited; intellect is weak, and 
can be lost or destroyed, and life is too short to find or 
ferret out the real cause of life, that is a real and lasting 
life. 

Cletus (rises). Nay, Friend Zeno; thou, too, art 
wrong, for air is the primal cause of life, and not intellect. 
This element is universal. We breathe It—It is life 
pregnant with vital energy, and capable of infinite trans¬ 
mutations. All living things are sustained by It; all 


THE AGITATOR 


59 


things are produced by It, and all things are again re¬ 
solved into It. It supports all things — surrounds the 
whole world. It has infinitude and eternal motion. 

Saffo. From whence dost thou conjecture this state¬ 
ment? That air is the primal cause of life? If thy ac¬ 
count be true, how comes it, friend, that a dead body 
exposed to the influence of gases of air, decomposes instead 
of regenerating? If air were the primal cause, then there 
would be no death. 

Cebes {interrupts jesting). Hi ho, Master Saffo, when 
canst thou not look up? 

Saffo {impatiently). Foolish man, knowest not that me 
canst not look up, when looking down? 

Cebes {laughing jolly). Once in thy lifetime thou didst 
not prove thyself a philosopher. Knoweth not that a man 
can not look up when the sun looks down? 

Saffo {resuming his question). Prove thy statement, 
Cletus. 

Cletus. Me has already proved it, without further 
argument. 

Saffo. Nay, thou didst not give sufficient reason to 
support the theory of air constituting life. It is one of the 
constituents {emphasises strongly). If air or atmosphere 
were the real cause of life, there would be no such thing as 
death. How does it happen that persons are surrounded 
on all sides by the pure element of air, yet die? Life 
means to live forever, and death means an end to all things 
of life; now, if air were the real and vital cause of life, a 
carcass exposed to the influence of these gases would 
revive and regenerate into new life, but what is the re¬ 
sult? Corruption, or a withering away; from whence 
dost thou derive thy theory of air being the real cause of 
life? Thou art wrong, Cletus, entirely wrong! 

Cletus {impatiently). Me doth not agree with thee, 
Saffo. Thee and thy strange ideas. Me sayeth life is 
caused by air, and will adhere to my theory. From 
whence dost thou think that me derives my great strength, 
or what finer element than air sustains me? {Breathes 
deeply and expands his lungs). Knowst not, Saffo, that, 
if all the Greek gods in Athens were holding a rope, and 
strong me were at the other end, naught could move me, 
so powerful is my build, and, apart from feasting, love- 


6o 


THE AGITATOR 


making to the Lady Flavia, and enjoying all the beauties 
of life, me desireth naught else. 

Saffo ( arriving at Truth). Me thinks, Cletus, that 
there is a higher element than air sustaining life; that is 
the soul within. Dost never feel within thee an over¬ 
whelming, at times, greater than thyself, and hast 
never felt horror of passing into nothing? Wouldst not 
like to think of a higher and more perfect state than this 
life, or seest no nobler cause worth working for than this 
life, or dost thou never think of this grand and glorious 
earth being governed by a ruling power, all-wise and 
supreme, greater than thou and I? Else how would we 
have the changes in the atmosphere, if it were not governed 
by a ruling power, or whence the bloom of flowers, or the 
growth of vegetables, if some greater power did not rule 
and give the increase, so that the plant or tree might 
grow? Dost not see thy error now? Life is sustained by 
some great, strong Being, much more powerful than thee 
and I, and He is the life in all, and with all. 

Cletus ( contemptuously ). Bah! who careth for what 
thou sayeth? Thee and thy strange ideas of a soul and 
future life? 

Saffo {discouraged). There is no way of arriving at 
truth, for error is spread over all things—It is evident 
that a plurality of gods is impossible, since there must of 
necessity be one strong ruling power. There can be but 
one first cause, and to find this is truth. A perfect unity 
ruled by love. ( Hopefully.) Hence, “God is Love,” 
must be Love — Love being the ruling power in the 
world, and the only true and lasting force, or power on 
earth, the one moving cause of all things, the first creative 
principle, by which and whom the world was created and 
peopled. Thus, since all life is but an emanation of love, 
the God of all, and above all, must be Love. Hence we 
find the one true living God pervading all space, filling up 
all things, creating and sustaining life in all things, mani¬ 
festing his wonders, arriving at truth, and power in all 
nature. Canst thou, by searching, find God? Or canst 
thou know the Almighty unto perfection? To know 
one’s self is wisdom in the highest sense; it is the essence 
of peace, happiness and power, and the forerunner of 
great results; but {emphasises) the greatest “Aim in 


THE AGITATOR 


6l 


man’s life” is to find out who God is. This is the object 
of all rational inquiry, the secret foundation of religion, 
without which all would crumble and wither away. It is 
the real and only support in man’s life in this vale of 
misery and tears. True science is the full knowledge of 
the good, but man can never arrive at or come to the 
knowledge of this unity until he studies and learns to con¬ 
trol the forces of his own nature, and restrains and keeps 
in subjection the concupiscence of the flesh. To Philos¬ 
ophy 1 owe my wordly ruin and my soul’s prosperity. 

Cebes (to Cletus). Seeth not that Saffo is even now 
busy discovering another conflicting question to puzzle 
your goosey heads with? Ha! ha! ha! (Aside) How 
Saffo does aggravate and puzzle these foolish Athenians! 
It seemeth good that they have found their match and 
come to know that one is smarter than they! With all my 
foolish brains I must admire his pluck and how well he 
stands his ground among the rabble! Me thinks my 
Lord Governor knew his business the day he brought 
Saffo to “The Ionion.” (IValking across the room to where 
Cletus sits, he slaps him good-naturedly on the shoulder. He 
is bitterly disgusted with Saffo and his everlasting questions.) 

Cebes (to Cletus). Come, come, friends, let not Saffo 
disturb thee. We will drink a glass of wine; it will wash 
down all thy grudge and bitterness against Saffo, and also 
heal thy wounded pride and give thee more strength, to 
enable thee to conquer Saffo, for with all thy great 
strength, thou art not a match for his keen wit. (Holding 
up a glass of wine, he remarks jestingly.) 

Cebes. Me deriveth my life from the wine barrel; me 
can drink more wine than any other man in Athens. Yet 
me has never been found intoxicated. Every man re- 
ceiveth his life from that which maketh his life worth 
living for. Ha! ha! ha! (Turning to Cletus.) I say, 
Cletus, it never doth to flatter the women. Seeing my 
wife very busy, me sayeth, “My dear, thou art as busy as 
a bee.” When lo! the next day she broke out with hives. 
Ha! ha! ha! 

(Critices and Delphi rise and approach Saffo) 

Critices. Well friend Saffo, knoweth not that thou 
hast been in my service three years, and a fairly good 


62 


THE AGITATOR 


fellow at that, making thee more enemies and earning 
me the reputation of the most feared governor in Athens? 
Me thought to send thee to Constantinople, to conflict and 
puzzle the great Cornelius, my friend and foe at the same 
time. Delphi will accompany thee to assist and help 
thee make the journey more agreeable and worth while. 

Pascal. And now, dear friend Saffo, thou will surely 
honor me and mine with a visit before journeying to 
Constantinople. Stop over night at the Palace. Mine is 
a darling daughter, the pride and glory of Athens, and 
would be glad to have you come, hearing me speak so 
much of thee and thy school. 

(The scholars sing a farewell rally to Saffo ) 
Curtain 


Scene Second. Market place at Patras. A massive stone 
structure with one immense pillar half buried, in the wall. 
It opens with a grand procession of the Osiris Bull, and 
is headed by Phebe and Corfu, the kings of commerce. 
They are both clad in flimsy lace tunics, with pointed 
golden sandals. A large spangled girdle encircles the 
waist. The ends are very broad and reach to the bottom of 
the tunic. Phebe’s hair is arranged loosely over the 
shoulders and hangs down the back, arranged in a be¬ 
coming manner. She wears a very small veil, over which 
is mounted a bell-shaped crown in silver. Corfu’s head 
gear is the same. Phebe carries a tinkling bell, and Corfu 
scented incense. The Bull is all bedecked with grapes, 
flowers, a spangled blanket of rich damask over his back. 
Following the Bull are girls with harps, palms and baskets 
of flowers, dancing gracefully and keeping time with the 
music. Over against wall are several tables and a number 
of chairs, used as wine boards. Two very large urns filled 
with palms and ferns complete the scene. The market 
place overlooks the city of Patras, and is the principal 
scene of festivals and processions common in Greece. At 
the close of the procession, Carmon and Phebe enter. 
Carmon sings, after which they both seat themselves at one 
of the tables. Carmon gives a deep sigh.) 


THE AGITATOR 


6 3 

Carmon. Well, Phebe, dear, thy husband is surely a 
clever man to outwit the judges and authority as he does. 

Phebe ( contentedly ). Clever indeed, else he would never 
have tricked me into marrying him as he did. Neverthe¬ 
less, the gods be thanked, I am none the worse off for the 
bargain. ( IVearily.) O me! O my! how very trying it 
is; everything so dead and quiet! 

Carmon (bored). Yes, me, too, longs for excitement of 
some kind. 

(Saffo, Delphi and Pascal enter, and take a table 
opposite Carmon and Phebe. Phebe is immediately 
attracted by Saffo, and remarks to Carmon) 

Phebe (admiringly). My stars! what a personality, 
the one in white! From whence do these three come? 
Let's make merry with them, Carmon. My husband is 
not due until far into the night. (She then tries to attract 
Saffo by the use of signs common among the ladies of Greece 
in attracting men of their choice, by taking a flower from the 
urn and pinning it in a conspicuous place, using every 
endeavor to draw his attention. Failing in her attempts, she 
takes Carmon into her confidence, remarking to her.) 

Phebe (coaxingly). Carmon dear, wilt thou not use 
thy arts in attracting the gentleman in white yonder? 
His personality doth please me exceedingly, and I would 
like to hold conversation with him but for a few minutes. 

(Carmon turns and views her intended victim 
steadily, then suddenly grows very grave and 
thoughtful) 

Carmon (slowly). Phebe, dear, ever have I used my 
charms in procuring you attractions, but this one me 
must decline. This victim of yours yonder is a true Greek 
of the white stock, not to be won by charms other than 
virtue; and it repents me for the first time in my life 
that me be a courtesan, for from henceforth these charms 
shall be used other than they have been by me, for me hast 
found one clean, upright man, and shall prove to the city 
of Patras that me, too, can be a clean, pure woman. He 
is chaste and clean, and may it please the gods that he 
remain so. Me would not use my wiles and charms to 
ensnare him any more than me would use them to ensnare 


THE AGITATOR 


64 

my own brother, and who knows but the gods may credit 
this one unselfish act to my account and it may stand me 
good some day? 

{Saffo in that one steady glance divines her pure 
intention, and thanks her in his heart. Ayntus 
enters and approaches the ladies, being well ac¬ 
quainted with Corfu and Phebe. Phebe presents 
Garmon to Ayntus) 

Phebe. Have the honor, my Lord Ayntus, to know my 
devoted friend, Carmon. Pray, my lord, dost thou know 
the gentlemen yonder? 

(Ayntus turns and beholds Saffo) 

Ayntus ( remarks to Phebe). Sure, my lady, it is my 
old teacher from the “ Ionion School of Philosophy,” and 
two fellow students. Wouldst be pleased to meet my 
friend and his companions? 

Phebe {gaily). O, yes; my lord couldst not bestow on 
us a more gallant favor. (IVith a wistful glance at Carmon, 
who is deeply in thought.) 

{Ayntus then approaches his companions, with this 
remark) 

Ayntus {to Saffo). Would’st have the honor, my 
favored teacher and master, to meet the ladies yonder; 
they crave thy friendship? 

{Saffo, Pascal, Delphi and Ayntus advance toward 
the table. Phebe and Carmon rise, and Ayntus 
presents them with the words) 

Ayntus. Have the good graces, my ladies, to favor 
the honored Saffo, the Lord Pascal and the highly esteemed 
Delphi, counsellor to the great Critices, with thy ac¬ 
quaintance. 

{Turning to the gentlemen, he says) 

Have the honor, my lords, to know the Lady Phebe 
and her devoted friend, Carmon. {Saffo turns to Carmon 
and remarks) 


THE AGITATOR 65 

Saffo. My Lady Carmon, dost know me, and whence 
my coming? 

Carmon. Nay, my lord; but from thy noble bearing 
and dress I concede that thou art a true Grecian gentle¬ 
man of the white stock. 

Saffo. And pray, my fair lady, why art thou not of the 
white stock, being a true Greek by birth? 

Carmon (sadly). Alas, my lord, when but a child my 
steps were light and my heart gay as the birds in spring¬ 
time, when lo! the tempter came one day, a gallant youth, 
with ardent wishes and a heap of gold, glittering gold, 
that set me all aflame; and but a frail, weak girl, with all 
the destructive qualities that cause even a good girl’s 
ruin, harkened to the voice of this base deceiver; and 
being only a woman in sentiment and craving the incense 
offered hourly to my beauty, sought by foul means to 
adorn this shrine that claimed so many worshipers; and 
knowing full well the value brave men set upon my charms, 
by the words and looks hurled at me by gallant men, and 
longing to free myself from the slavery of poverty by 
aspiring to a position far above my sphere in life, that 
was only reached by a loose and dissolute life, abandoned 
myself to a life of sin and shame. Each word of praise 
from the lips of wicked men fanned the sleeping flame; 
each gift proved fuel to the ever growing fire within my 
bosom, and at last, realizing all my wild dreams of empty 
glory, me awakened to find myself an outcast, a miserable, 
worthless woman, owned by no man, yet the bait of all 
men, and now thou dost behold me a wretched woman, 
shame and confusion facing me on all sides. 

Saffo. And dost thou never regret thy conduct, or 
hast thou no desire of amending thy ways and of doing 
better in future? 

Carmon. Nay, my lord; it never repents me my life 
before. I never regretted the base step taken until this 
morning, and then the clean look in thy eyes and thy 
noble bearing made me wish that me, too, were clean, and 
not a courtesan; for my whole past life of shame and 
sinfulness loomed up in horror before me, and in that one 
grateful glance me beheld for the first time in my life the 
ghastliness of my foolish past; in that one look of thine 
all the sin and foulness of my life vanished, and me beheld 


66 


THE AGITATOR 


myself once more a chaste, winsome little girl. And from 
this hour forth the city of Patras shall no longer know me 
as Carmon the courtesan, but Carmon the chaste. 

(Saffo extends his hand, and proffers his friendship) 

Saffo. Carmon, dear, thou art a brave little woman, 
and thou shalt never want for a friend and counsellor as 
long as a breath of life remains in my body; only hold 
fast, girl, to thy promise, for the hour or day that thou 
changes thy course, that day me shall cease to be thy 
friend. 

( Cebes , Corfu and Thales enter. Cehes humps 
into Carmon and earns a severe rebuke) 

Carmon. Dost not see and know full well that some 
one is standing here? 

Cebes. Pray, fair lady, me craves thy pardon. (And 
then hacks into Phebe, and is handled roughly by Corfu) 

Corfu. Thou miserable beast, dost thou not see a lady 
standing here? Begone, dog! thou art not fitted to be in 
the presence of ladies. 

Cebes (to Thales). Come, friend, we will have a merry 
time all to ourselves. 

(They move toward a vacant table, seat themselves, 
ordering wine at the same time. Cebes, holding up 
his glass) 

Cebes. Ah, wine, my old and early friend. Tis but a 
while since we two have met. Pretenders try hard to 
win and woo me, but thou alone art the true descendant 
of the vine. Now, friend, pledge me to the health of the 
Lady Flavia — that name reminds me of the approaching 
wedding. 

(A chorus follows and the curtain falls) 


ACT THIRD 

Scene First. A large marble terrace overlooking the city of 
Athens. To the right one large marble pillar, ferns and 
palms in profusion, a fountain in the middle, with two 
life-si^ed marble figures in the center. To the left is one 
marble stand, of two camels holding on their heads an urn 
of choice flowers, a small mahogany table and two divans 
of the same wood. The Lady Flavia is engaged in painting 
with a pallette. Her two slaves are in attendance, one in the 
act of fanning her, the other playing the harp. Cleophas 
and Hera enter. 

Cleophas {advancing). The morn be a fair one for thee, 
Lady Flavia. Doth look weary and not as animated as 
usual. Doth have anything troubling thee? {Embraces 
her affectionately.) 

Hera {blustering). Pray, and what is it to thee, 
Cleophas, if the Lady Flavia is looking weary? We shall 
hardly beheld her other, after her marriage to the coarse 
Cletus, seeing him a close friend to my miserable lord. 
Well, of all men in Athens there is not the equal of Critices, 
and a blessing it will be when the earth is well rid of his 
horrid presence, for he is a heart-scald to me. {With a 
deep sigh.) Know, Lady Flavia, that me be happy when 
that tyrant is not in sight. 

Cleophas. Come, Ariel, play thee the harp, and we 
will sing a beautiful ballad to the Lady Flavia. {Sines a 
suitable ballad.) 

Lady Flavia. Thou, Cleophas, dear, wilt not fail we 
tomorrow; and thou, Hera, darling, wilt honor me with 
thy presence, as also thy gallant lord. 

Hera {storming). Well, please the gods, it will be a 
relief to me when this wedding is at an end, seeing that 
me must be bored to death one whole evening with the 
presence of that miserable man Critices. It is no wonder 
that my storms almost shake the Olympian mountains — 
to be wedded to such a reprobate as he, and me the im¬ 
personation of all the womanly qualities. {Sighs and 
struts up and down like a peacock. Cleophas and Hera 
withdraw and leave the Lady Flavia alone. The Lady 


68 


THE AGITATOR 


Flavia walks over to the urn of flowers, fondles them affec¬ 
tionately, plucks one and presses it to her lips; then, holding 
it at a distance, admires its beauty and grace, exclaiming 
aloud with a deep sigh) 

Lady Flavia. 

Flowers, sweet and lovely flowers, 

Gems on earth so bright and gay. 

Is there nothing you can teach us, 

Nothing to us you can say? 

Ah, flowers! how truly dost thou depict thy mistress! 

L too, am called the rose of Athens. Ah! and this rose, 
so fragrant, so much admired by gallant men, hath been 
ruthlessly plucked by its owner and handed to the coarse 
and handsome Cletus. Me shall never again be called a 
rose, but shall droop, wither, and die under the coarse 
caresses of Cletus, seeing that me never did fancy him and 
his great strength. If mother had lived me knows that 
things would be otherwise. Father is only thinking of his 
great strength and the glorious triumph of carrying off 
Cletus with his powerful physique. ( Regretfully .) Ah, if 
there were but a future life, how pleasant it would be to 
pass beyond its borders instead of remaining here only 
to be unhappy {disgusted), but, O, horrors! to think of 
passing into naught! {The Lady Flavia is interrupted by 
the entrance of Saffo and Pascal. They approach her, and 
Pascal offers her to Saffo in the following words.) 

Pascal. Have the honor, noble sir, of knowing my 
dearly beloved daughter Flavia. {Turning to Flavia.) 
And thee, Flavia, child of my heart, be pleased to know 
the noble Saffo. And now I will leave thee and the noble 
Saffo alone, feeling very weary and worn after the day’s 
journey. Perchance thee would enjoy conversation with 
this great and brilliant mind. Pray, my noble Saffo, thou 
must remain with us until after the festival. {Withdraws, 
leaving Saffo and the Lady Flavia alone.) 

Saffo {approaching). Dost know, Lady Flavia, that me 
hast heard so much concerning thee that it is a pleasure 
to behold thee, seeing thou art so fair. 

Lady Flavia {quietly). It affords me, my noble lord, 
the greatest pleasure in speaking to thee, seeing my mind 
is not as easy as it usually is. 


THE AGITATOR 


69 


Saffo. And pray, fair lady, think it not rude in me 
to inquire the cause of thy great anxiety, or canst thou 
not trust me with thy secret? 

Lady Flavia. Nay, my lord, it would be treason in the 
highest sense, and a great offense against my own honor, 
seeing me is bound by loyalty. ( She walks sadly away, 
Saffo following in her footsteps.) Ah, if me dare only think 
of a future life, instead of this horrible darkness, me thinks 
me would gladly travel to it instead of remaining here 
unhappy. ( Sighing deeply.) But, alas! what a poor 
conception of supernal bliss, to live without love or action, 
thought or holy companionship — only rest, cool and 
dark rest, and absence from disease and pain, a state of 
endless impassiveness. 

Saffo ( soothingly). Dost believe this, fair lady: 
Knoweth not that beyond this world of sense is the world 
of eternal truth, and this principle no one can dispute, not 
having the acquired knowledge to do so. 

Lady Flavia ( comforted ). Be this true, my lord? 
Knowing that thou art a great philosopher, and can tell 
of many wonderful things that no one else seems to know 
of, tell me of thy truths, that me, too, might be enlightened 
and know what true love is. 

Saffo {ardently). Love is the longing of the soul for 
beauty; or in other words, truth, for truth is but another 
way of expressing love. We love God only through the 
desire which like feels for like; take this away and we have 
a ghastly death. A life without love is a hades. The 
divinity within feels its affinity in revealed beauty, or any 
other abstract idea; hence love is but a hungering after 
life, or an exchange of magnetisms, a blending of the 
virginal sexes. This exchange is called life, and not only 
feeds the body, but the mind, soul and heart; it permeates 
the whole body, causing a pleasure far exceeding all other 
joys in life. The absence of this mutual exchange causes 
the anguish the soul experiences at times and all the 
other misery the world is heir to. Dost know why I love 
thee? 

Lady Flavia. Thou, my lord, hath enlightened me 
greatly in regard to a very perplexing question, one 
that has caused me considerable pain and many weary 
hours. 


70 


THE AGITATOR 


Saffo (advancing nearer to Flavia). Know, fair and 
gentle Flavia, that three years hence, as me lay asleep on 
the Island of Syra, a glorious vision rose before my mind's 
eyes of a maiden chaste and beautiful, so beautiful that 
me hath not seen her equal before or since until me beheld 
thee this evening. Me beheld the dream and passion of 
my lifetime, and my heart is even now aflame with a love 
before never felt in my bosom. Thou art the soul of my 
life. Come, fair one; come to me! To be near thee is 
life, and to gaze into those star-lit eyes doth kindle delight 
in my soul and such an overwhelming love for thee. Thou, 
fair Flavia, art my love, my dearest love. My soul hath 
longed for thee with an insatiable longing since the first 
night me beheld thee a vision of glory. ( Takes her quietly 
in his arms and sings “Desideratum”) 

(Pleadingly) 

Say thou art mine, O life of my soul! 

Lady Flavia. Nay, my lord; this me cannot say, 
seeing me am betrothed to Cletus, and until me can gain 
release my lips are sealed. 

Saffo (ardently). Nay, thou art my Flavia; it cannot 
be otherwise. Say, O love, that I am thine! 

Lady Flavia. Ah, my lord, me cannot speak, seeing 
me am betrothed to the hated and despised Cletus. 

Saffo (with vehemence). It giveth me great comfort, O 
heart of my heart, to hear thee speak thus, and, fair 
heart should me never win thee for my own, this one 
sentence will ever feed and keep alive in my bosom 
the flame that thou didst kindle and which burns for 
thee alone. Thou, sweet one, art mine — the dream and 
hope of bygone days. Say, love, that thou wilt be mine 
some day. It will abate somewhat the burning in my 
bosom and the desires of the past three years. 

Lady Flavia (steps lightly up to Saffo, her hands on his 
bosom, gaies into his eyes and remarks tenderly). Trust 
me, noble sir, for the best in my life is for thee. 

(Saffo folds her tenderly in his arms and reads in 
her eyes what she dare not speak with her lips. He 
ga^es long. Just then Cletus passes through the 


THE AGITATOR 


71 


garden unperceived, stops and notes the exchange of 
love, then hastens away. Saffo releases her gently, 
and asks that he might see her tomorrow; then with¬ 
draws, leaving her with a heavy heart. A chorus of 
girls follows. After a slight intermission, morning 
dawns. The Lady Flavia enters, dressed in a flimsy 
cream gown. She is very uneasy and seems greatly 
distressed, pacing up and down the path in a rest¬ 
less manner. 

Lady Flavia {disturbed). O, if Saffo would only come, 
then me could speak my mind to him and feel relief! 
{She wrings her hands in despair then rises and sings in a 
r fflh, full voice the song sung by the Lady Flavia in Act III, 

Beloved One.” After this she seats herself and weeps 
bitterly. Nester and Ariel, her two devoted slaves enter, and 
finding their beloved mistress so distressed, Nester approaches 
her and flings himself at her feet. 

Nester ( earnestly). Pray, tell me, fair goddess, what 
doth distress thee, or who has caused thee such bitter 
grief, thou fairest under the sun. Tell me, sweet mistress, 
that I may be able to help and assist thee. What has 
caused these tears to flow? 

Lady Flavia. Ah, Nester! Seest not that me doth 
not care for the coarse, handsome Cletus, and never had a 
mind to marry him; but it pleased the Lord Pascal to 
select him for my husband, and all that remained for me 
to do was to carry out his wish, and until last night it did 
trouble me a little, but now it disturbs me greatly, nor 
did me rest at all last night. Thee and Ariel I do trust, 
knowing full well your fidelity and faithfulness. 

Ariel. Ah, fair mistress, if needs be Nester and myself 
will upturn half of the universe in order to assist and 
help thee. 

Lady Flavia. Hearken to what me sayeth: Pack as 
much of my toilet as is possible for thee to carry con¬ 
veniently, and thee, Ariel, take my jewels and the gold 
concealed in the vault of the east wing in my chamber, 
and make thee haste, for all must be in readiness by sun¬ 
down or it will be of no avail. We must leave the palace 
this noon. {Ariel and Nester depart to carry out the wishes 
of their mistress. Lady Flavia remains in the garden) 


72 


THE AGITATOR 


Lady Flavia ( aloud hopefully). Me thinks that all will 
yet end well, for we will now hasten to Patras, from thence 
to Constantinople, dispatching to Saffo to meet me in 
Rome, where we will marry quietly and live in peace and 
quiet. ( She sits down and muses to herself. Suddenly an 
old drone slowly advances to where she sits, saluting her 
in the following terms.) 

The Drone ( Cletus disguised). A fair and happy morn 
to thee, gentle Flavia. There is not thy equal in all 
Athens. I trust to the gods that happiness be thine. 
(She sighs deeply and then weeps quietly.) Why weep, 
fair lady? Surely all happiness is in store for thee and 
thine, for tonight thou art to wed the strong and gallant 
Cletus. Doth feel no joy? ( Advances nearer and takes 
hold of her hand) 

The Drone. Come, beautiful Flavia, tell me the cause 
of thy tears, for me can help thee, seeing that me possesses 
one of the most powerful charms of Egypt. 

Lady Flavia. Kind sir, thou knowest full well that 
tonight 1 am wedded to the gallant Cletus, but me doth 
not love him nor shall me ever love him, since my heart 
belongs to another. 

The Drone. And pray, fair lady, whom may this 
other be. And how comes it that thou art to marry the 
bold Cletus, knowing that thou lovest him not? 

Lady Flavia. Kind sir, it is not my wish. Has never 
been my wish, but is the desire of the Lord Pascal, and 
as to the love of my heart, me only discovered the same 
last night, having met the noble Saffo through my father, 
and now my whole soul goes out to him, even as his heart 
turns to me. My soul cries out for his love and caresses, 
and it means death to me to wed the coarse, handsome 
Cletus, and live without the object of my love, knowing 
full well that he loves me even as me loveth him. 

The Drone. Never fear, fair lady; we can adjust mat¬ 
ters so as to satisfy the longings of thy devoted heart. Do 
not trouble thyself about flight. It would only prove a 
piece of folly, and thee would accomplish naught, for 
Cletus would be on your heels to reclaim thee as his bride, 
and then Saffo would be punished for treason, seeing he 
has not the favor of Pascal; then would all thy dreams of 
triumph be cast to the winds. Take this tablet; it is a 


THE AGITATOR 


73 


powerful charm of Egypt, used to convert love into the 
bitterest hate. Ten minutes before the ceremony con¬ 
sume the same, but take every precaution not to let any 
one know that thee possesses it, for as soon as any one be¬ 
comes cognizant of it, it will lose its charm and all will 
be lost to thee and thy beloved Saffo. Farewell, fair one, 
and may the gods prosper thee and Saffo. ( Before leaving 
he disposes of the other tablet in the cloak of Saffo, lying 
carelessly over a chair.) 


Curtain 


ACT FOURTH 


Scene First. A large white marble hall, with two immense 
steps leading into the garden above. To the right are four 
marble pillars, forming arches to antechambers. The tables 
are long and dressed tastefully. The guests are seated, 
awaiting the ceremony. The Lady Flavia and Cletus are 
seated opposite each other. Pascal is at the head of the 
table, and Saffo is seated next to him, as guest of honor. 
A chorus of beautiful girls take part in the wedding march, 
after which follows the celebrated cross dance, common in 
Greece at weddings; then follows a lively and joyous quar¬ 
tette, and Meletus and Grote favor with a suitable ballad. 
Saffo sings “ Melody of Love.” Cletus is eyeing the Lady 
Flavia slyly, also keeps a critical eye on Saffo. The Lady 
Flavia is so bright and joyous that she sets Saffo doubting 
as to whether she really does care for him, and evokes this 
remark from him.) 

Saffo {aside). My stars! what does this mean? The 
Lady Flavia in tears, last night, asking me to trust her, 
and tonight the center of attraction on account of her 
mirth; and me beholds her a glorious triumph, with love 
beaming forth from her whole person. Me thinks the fem¬ 
inine race a puzzle, for ye gods! my own heart never knew 
such sharp pangs and bitterness before. {Saffo then seats 
himself again. The Lady Flavia is watching the sand dial, 
and quietly consumes the tablet unperceived by the guests. 
Saffo is in the act of pouring wine from a decanter, a toast 
is extended to the Lady Flavia, all the guests rise, Saffo passes 
the wine to the Lady Flavia. Cebes holds his glass high in 
the air, remarking.) 

Cebes. Wine, women and song, but there is not an¬ 
other that can compare to thee, brother wine. Thou art 
the true support of old age and the joy of youth. 

Tragedy 

{The wedding chimes peal out. The Lady Flavia 
rises to hasten and meet Cletus under the bower of 


THE AGITATOR 


75 


roses, when she staggers suddenly and falls dead. 
Saffo, all unconscious of the tragedy, hastens to 
assist her, hut is stayed by the hand of Cletus, who 
has reached her first. He slowly raises her in his 
arms, and ga^es long on her still and beautiful 
face with remorse and anguish depicted on his 
countenance. He rises suddenly to his feet and 
pretends to learn who passed her the wine) 

Cletus. From whom did the Lady Fla via receive the 
wine? 

Saffo. From me, noble Cletus! 

Cletus {agitated). Then you, sir, are her slayer, for 
she hath been poisoned! 

The Guests Chorus {in horror). Poisoned! {All try to 
get a peep at the prostrated form. Cletus then turning to 
Lady Flavians guards of honor, remarks.) 

Cletus. Seize the coward and execute him immedi¬ 
ately, for such a crime has never been witnessed in all 
Athens. 

{Saffo is seized and handled roughly by the guards, 
and would have met with certain death but for the 
timely interference of Pascal) 

Pascal. Stay thy violence, gentlemen, and see that the 
noble Saffo is tried justly, as becomes a true Greek. Why 
should he harm my gentle Flavia? — my only joy. {The 
old man sinks to his knees and bends affectionately over the 
lifeless form of his beautiful Flavia.) 

Curtain 


Scene Second. A wide, spacious courtyard, used to execute 
criminals. The court room at the left is long and narrow, 
having a judge’s desk at the far end, two long docks, one 
served for the jury, the other for the prisoners tried. Saffo 
is standing facing the jury; his hands are tied behind 
him. 

The Judge. What charges are hurled against this 
prisoner? 


THE AGITATOR 


76 

Cletus. The charge of murder, your honor. 

The Judge {turning to Saffo ). Where or whom is thy 
accuser? 

Saffo. The honored Lord Cletus. 

The Judge {turning to Cletus). What charges have you 
against this man? 

Cletus. Know, gentlemen, that this man is my most 
hated foe, and me cannot find or lay any other charge or 
motive to this detestable act of murder than pure revenge 
for a past grievance. 

Saffo {strongly). Nay, sir, thy statements are all false 
and untrue. Me beareth thee nor the gentle Flavia any 
ill-will, far be it. Know, gentlemen of the court, that 1, 
Saffo, known throughout all Athens as the “Agitator,” 
loved with all the powers of my weak soul, as a true Greek 
alone can love, the very breath of the Lady Flavia, and 
would, if it were in my power forego my own life in order 
to restore her to life once more. My life is now run {reck¬ 
lessly). Without her my life is unbearable, and it behooves 
me as a true Greek, without aim or kin, to go beyond the 
borders of the deep and there meet the object of my love 
and ardent wishes. 

The Judge {exhibiting the cloak with the concealed 
tablet). What say you, gentlemen, that this tablet 
contains? 

The Jury. This tablet contains a most deadly poison, 
called Egyptian hemp, and the self-same poison was used 
to destroy the life of the Lady Flavia. This tablet being 
found in thy possession, and you having passed her the 
wine, after which a number of persons were witnesses to 
her sudden death, we, the jury of the courts of Athens, 
hold you responsible and guilty for the death of the Lady 
Flavia. Thy execution will take place one hour hence, 
and without mercy or respite. Hast thou anything to 
say? 

Saffo {sadly). Only this, gentlemen, since you have all 
found me guilty of this crime without the proper investi¬ 
gation, I give thee my body. Take it and do with it as 
you like or think justly; but I swear by the gods that 1 
am innocent of the guilt of this murder, nor can me account 
for the tablet in my cloak. 


THE AGITATOR 


77 


(<One hour supposed to elapse. 

Saffo is then led to the courtyard, stripped to the 
waist, and just as the guards start to pit his body 
with arrows, in rides Cletus on horseback, his horse 
rears and throws him. Several of the guards in 
waiting hasten to his side, only to find him dead) 


Curtain 


SONGS USED IN “THE AGITATOR” 

Alter Ego 

(Recited by Saffo in First Act. Words by the Editor, 
Anna Ramspacher.) 

Two souls, alike, from one germ made. 

The one a male, the other a maid. 

Upon this earth a journey sped. 

Both born together, and reared the same. 

The childhood of these two were spent — 

As only children yet have known. 

On, on, they grew and each waxed fair. 

The maiden, gentle, sweet and fair — 

Beloved of all, both young and old. 

The boy grew strong and vigorous too — 

The pride and joy of all who knew 
His ardent nature, strong and true. 

That would e’re long break from his doom. 

Ah, youth, fair youth! with all its charms, 

Now, waken to the dreams of youth — 

Seeking both near and far, for her; 

The object of his ardent wish. 

On, on, he speeds in darkest search, 

To find in all, but disappointment. 

And then the man within breaks. 

Where, where, is she the one 1 love? 

And she the maiden all abloom, cries out — 

To him, as he to her; 

O world, O world! where is my love? 

Could I but find the one I love, 

Then would my life be full and sweet. 

And all this world would then be true. 

O, Paradise, now lost and sought; 

Because of him, whom I do love. 

Yet, all their search seemed now in vain. 

No answer to their wishes came. 

The youth unsatisfied, now sought rest, in a very gloomy 
source. 


THE AGITATOR 


79 


And, still, that unrest within him grew — 

And, naught could quiet nor still in him 
The fire that could ne’er be quenched, 

It called out for its loving help. 

The maiden too, had restless grown. 

Sought refuge in a quiet doom, but, none did come, 

But, in its stead, dark anguish, and a troubled soul. 

O God, O God, where is my love, 

This Soul did cry in dark despair. 

O, wretched Youth and maiden fair, 

Knoweth’s not for thee, shall ne’er come — 

Until the maker of mankind 
Shall say to thee and thy own kind, 

Man we will make to our own like, 

And give to him from his own side; 

A Helpmate and companion true, 

That will fill up his life and Soul, 

Destroying all the void and cold, 

Making light all he must bear. 

Both now and throughout all time to come. 

On, on, each rushed in mad despair. 

The maiden, vain, frivolous and stained, 

So wretched in this vale of tears. 

Finding all, and everything, but him — 

The object of her ardent wish. 

O, what’s the use, cried out the maid. 

My life is but a gloomy space. 

With nothing in this wide, wide world — 

To give to me the peace 1 wish — 

And satisfy within my breast the awful anguish and 
distress. 

The ardent Youth with all whims spent, 

Can find naught in this world, but drink, 

To kill out and, to deaden still, 

This cry of nature’s soul, for love. 

On, on, he speeds in dark despair, 

A victim to the curse of drink — 

Until his Youth is nearly spent. 

When lo, upon the scene does chance. 


8 o 


THE AGITATOR 


A maiden lovely sweet and fair, 

And, O, ye gods, what does this mean; 

It is the maiden of my dreams 
The one, and only one, for me — 

To fill up all my dreams of life, 

Soul of my Soul, life of my life, 

The precious one to whom I turn — 

In all my sorrow and my pain. 

Ah God, my God, for ever more, 

To thee alone, allegiance I pay — 

For she my love has come to me, 

And henceforth and forever see 
That I will be thy servant true, 

And of all my earthly goods dispose; 

Of, too, thy will and grace 

For she whom I have sought for long, 

Has come to me as a living grace; 

To feed my heart and Soul with love, 

A love that will make me brave and strong, 

The only wish in all my life, 

Has been fulfilled in this one grace — 

The living vessel of my life. 

My heart’s content, and soul’s sweet rest, 

To cherish fondly on my breast. 

Love of my love, heart of my heart. 

The joy and strength of my whole life. 

The ardent wish and desire felt 
Are now filled up, and calmly spent, 

In her who is to me a light, and 
Guilding star through darkest night. 

Reaching out to mother earth below, and — 
Gathering in her gentle fold, all the life — 

Forces needed yet, to make me, a Masterpiece; 
And give to God and heaven’s realm, 

The souls of all the joy beneath; 

Who wandered long in dark despair, 

Why he the brilliant, gifted one, should waste — 
Those precious gifts and life 
In such an evil vice as drink. 

No more, dear Lord, shall this vice strong, 


THE AGITATOR 


8l 


Make of my life, a slave and fool. 

But she the object of my life. 

Will purchase by her holy life — 

The grace and blessings to be true. 

And henceforth to my glorious doom, 

Will I speed on in triumph’s march, 

A glory to my God, and life. 

And she the maiden, calm, serene, 

Doth humbly to her king bow down — 

My Lord and Master, 1 do thank — 

Thee for the love that 1 have found. 

And on this day, do consecrate, forever more — 
Myself, and he, the one 1 love. 

Bless us O Lord, as of old Thou blessed 
The souls whom Thou has firmly placed. 

And we shall be from henceforth on, 

One Soul and heart forever more. 

And these two lights melting into One, 

Are lost within each other’s love; 

To awaken with their Glorious King, 

To reign in love’s dear triumph sweet. 


Desideratum 

(Sung by Saffo in Act First, Scene Second. Words by 
Anna Ramspacher) 


Ah, love, my love, if Thou wert near, 

I know this anguish drear would flee, 

And in its stead would reign once more, love’s Queen, 
If Thou wert here, my love, my all, 

My life would then be full and sweet. 

This restless spirit would then cease, 

And in its stead would reign supreme, 

Sweet content and lasting peace. 


82 


THE AGITATOR 


REFRAIN 

Come back, my love, come back to me, 

For all my soul doth long for thee, 

When thou art near, my love, how sweet to live; 
And to enjoy the beauties of this life. 

Come back, my love, my life, come back. 

II 

How easy to do deeds of good, 

While basking ’neath thy eyes of love, 

And flourish in its sunlit glow, 

Budding and blooming into virtues strong. 

But now how dull my life has grown, 

How utterly bitter is the cup, 

And O, how I do miss thee love, my love, 

Since thou has gone away, my dove. 

III 

O, good and gracious Lord, my King, 

Since I this burden must endure, 

Give me, O Lord of Thy wisdom store, 

And strengthen me in this vale of tears. 

Since all in life I held most dear. 

Has vanished like a fleeting dream. 

And now I stand released, and cold, so cold, 
Without one aim in dreary life. 


Beloved One 

(Sung by the Lady Flavia, in Act Third. Words by 
Anna Ramspacher) 

I 

If you were here, dear, the day I know — 

Would in a moment brighter grow. 

I know that care and all things drear, things drear! 
Would take their flight, if you, if you, were here. 


THE AGITATOR 


83 


REFRAIN 

1 f you were here, my eyes I know — 

Would tell you all, 1 love you so. 

They could not keep their secret love, 

Ah, dearest one, I love you so. 

II 

If you were here, my heart, I know — 

Would soon forget it’s measures slow, 

And, throb with joy anew, to have you near. 

Ah! dearest one, I love you so, I love you so. 

III 

Ah! dearest one, light of my life, 

If you were here my eyes I know. 

Would tell you all, I love you so. 

They could not, could not! keep their secret dear. 


Melody of Love 
(Sung by Saffo in Act Fourth) 

I 

If I were near, you say, you know, the day — 

Would in a moment brighter grow, 

That care, and all things drear, things drear — 

Would take, their flight, if I were near, if I were near. 

My life, and hopes are all for you, and all my days are 
spent for you. 

REFRAIN 

If I were near you, I know my heart would throb — 

With joy anew, to have you near. 

You say you love me fondly, true — 

Your eyes would tell me all you feel; 

Those eyes, the avenues of thy soul. 

Have e’er this told me so. 


84 THE AGITATOR 

II 

It was the golden string of love, that — 

Wakened in my heart true love, that 
Lives and burns, and, never dies. May God, 

The Author of all love, bestow, on thee — 

Blessings most rare, blessings most rare. 

III 

And, while my heart, languishes here for you, 

I trust and hope to see you soon, beyond — 

The borders of the deep. My soul and spirit 
Soon takes flight, to soar above in heaven’s light. 

Where I shall ever watch and wait, with my lily at the 
Gate. 


REFRAIN 

If I were near, — I know, my heart would throb — 
With joy anew and wrap in embrace forevermore, 
The one I love, with all my soul. 

To, wrap in embrace, forevermore — evermore. 

The one I love with all my soul. 

The one I love with all my soul. 


THE KENTUCKY DERBY 


Annual Classic 
Second Saturday in May, 1912 
Time: 2.04 3/5 


A PHOTOPLAY 

By Mrs. ALBERT LYNESS 




THE KENTUCKY DERBY 


CAST OF CHARACTERS 

Molly Prichett — A pretty orphan of sixteen, wronged 
by Dixon. 

Grandma Prichett — A motherly matron about sixty. 

Cash La-trophe — Molly’s love child, a jockey rider of 
twenty. 

Duncan Doe —Diamond Broker — a New York Sports¬ 
man competing for the $50,000 derby with Black Domino. 

Lee Dixon — The horse king of the South, also competing 
for the Derby with “Arizona” Joe and Blue Water. 

Ollie Grant — An actress, mistress to Lee Dixon. 

Sister of Charity — Foundling hospital, New York. 


Ten Horses entered for the Derby 

Black Domino, winner of the $50,000 Derby and Gold 
Plate, $7,000. 

Joe Custer, second place winner of $6,000 Independent 
Purse. 

Grace Great, third place, winner of $3,000 Independent 
Purse. 

Lavana Wall, fourth place, winner of $3,000 Independent 
Purse. 

Blue Water, fifth place, King, sixth. Minus, seventh, 
Chester, eighth. Muggings, ninth. Orphan Annie, tenth. 

“Arizona” Joe, owned and entered by Lee Dixon, was 
burnt to death in a stable fire the eve of the great race. 


SYNOPSIS 
First Part 

Pretty Molly Prichett and her Grandma live in a tiny 
cottage in the large timber adjoining the vast estate of Lee 
Dixon, the “Horse king of the South,” living in seclusion 
with Ollie Grant, an actress. 

Dixon, returning one day from a gallop across the coun¬ 
try, chances upon little Molly picking wild flowers. He 
accosted her in a genial manner and springing from his 
horse, doffing his hat at the same time, beamed upon this 
unsophisticated little girl, winning her love and confidence 
without an effort. 

Meeting follows meeting, without Grandma’s knowledge. 
A few weeks prior to the time of her becoming a mother, 
Lee takes her to New York, and shortly after the birth 
of her baby boy, deserts her and returns to Kentucky to 
his old flame, Ollie Grant. 

He leaves a note saying he can not marry, much as he 
would like, because he was not free to marry, but shackled 
to a mistress. He leaves a large sum of money for the 
baby. 

Molly in her weak state gathers up the baby and the 
money Dixon left, and makes her way through ice and 
snow, stumbling repeatedly, to the foundling hospital 
steps, and places the baby in the basket left by the Sisters 
of Charity for just such waifs of New York. After tuck¬ 
ing the baby carefully and secreting the money in the 
folds of its dress, she bends over the tiny infant and kiss¬ 
ing it with a mother’s love, raises her hands toward heaven 
and cries out in agony: “O! Baby mine, when you reach 
the state of manhood, avenge the great wrong done your 
trusting mother, and O! Baby, even as he your father 
wrecked and ruined my young life, so I call on heaven, 
through you, to wreck and ruin his desolate life on the 
very eve of his triumph and glory.” And moaning aloud 
she dies on the steps of weakness and exposure. 

And good Sister Irene on night duty, busy with the 
many other little waifs of New York, hearing the terrible 


THE KENTUCKY DERBY 


89 

wail of the unhappy little mother, hastens to the door and 
there encounters mother and child, baby sleeping peace¬ 
fully, but the little mother cold in death. . . . 

And hence the name, “Cash La-trophe,” meaning in 
French the “found one” with cash. 

Second Part 

“ Duncan Doe,” a popular New York sportsman, re¬ 
turning from the club one cold winter night, stumbles 
upon Cash La-trophe in the dark, now fourteen years old 
and a boy of the streets. Something about the lithe little 
figure attracts the big hearted New York clubman, and 
straightway he takes the boy to his home on the Hudson 
Drive, and later to his stables at Ocean Port, known as 
“Millionaire Colony.” 

The more he sees of the boy, the greater the attraction 
he finds in him, and he is astounded by the boy’s nimble 
knowledge of horses and proves a valuable aid in the way 
of breeding, rearing and breaking green colts, so much so 
that Duncan rarely makes a purchase without first con¬ 
sulting Cash. The boy has his mother’s lithe little figure, 
and his father’s master mind for horses, a happy com¬ 
bination. 

Duncan Doe has the boy trained a jockey, and he proves 
his worth by making a record for his benefactor. 

At the instigation of Cash, he enters his two-year-old 
colt, coming three, “ Black Domino,” for the Kentucky 
Derby, to be held the second Saturday in May at Churchill 
Downs, Kentucky. 

Lee Dixon, horse King of the South, also enters his 
world-famous horse, “Arizona Joe,” for the Derby, and 
“ Blue Water,” who came in fifth. 

Third Part 

“Black Domino” was brought to Kentucky in a special 
car well guarded by Cash and a number of detectives. 

Lee Dixon and Ollie Grant, his mistress of years, are on 
the ground when the winner arrives in order to look their 
rival over, and something about the lithe little “Jockey 
Cash” holds Dixon spellbound; he is at a loss to under¬ 
stand his own feelings, the boy's every movement fas- 


90 


THE KENTUCKY DERBY 


cinates him, so much so that he advances and proffers his 
hand in a hearty welcome. Cash, on the other hand, 
feels a certain reversion for this man, responsible for his 
birth, and mother’s death, and returns the hand shake 
coldly, not aware of the “paternity link’’ that binds one 
to the other. 

Lee Dixon, unaware of the hate kindling in the breast of 
the young jockey, invites him to the stables to look over 
his famous horse “Arizona Joe.” This, young Cash does, 
and forms his plans of ruin for the only rival he fears and 
the man who caused the downfall of his mother. All 
night he talks to “Black Domino” of the Great Race. 

He tells the horse, “We must win this race, boy, and 
keep the Derby from ‘Arizona Joe.’ I have looked them 
over carefully, and our only rival is Arizona Joe. We must 
win as sure as the sun rises.” He ponders and broods the 
best part of the night, and then when all is still, steals to 
the Dixon barn and fires same, causing a loss to Dixon in 
valuable horses far exceeding $200,000. The night before 
the great race unconsciously he carried out the wail of 
that heart-broken mother twenty years back, and thwarted 
this Horse King of the greatest triumph of his life. The 
newspapers were all proclaiming “Black Domino,” but 
the bets were all centered around “Arizona Joe,” and 
“Joe Custer.” 

The Great Race, Time 2.04 3/5 

Black Domino unconquered as a two year old, running 
true to form, won the event at a mile and a quarter, in a 
field of starters, before a record breaking throng of 70,000 
spectators, the largest crowd that ever witnessed the 
running of the Blue Ribbon — annual Classic for three- 
year-olds. “Black Domino” running his first race as a 
three year old triumphed over the best field that the nation 
had to send against him, and won for his owner, Duncan 
Doe, diamond broker and New York sportsman, the 
$50,000 Kentucky Derby, and a Gold Plate worth $7,000. 
Behind Black Domino came Joe Custer, trailing the victor 
by two lengths. “Grace Great” and “Lavana Wall,” 
just a neck behind Joe Custer, “ Blue Water” and “ King” 
following close on behind Lavana Wall. 


THE KENTUCKY DERBY 


91 


Speeding into the leading soon after the start, Black 
Domino made every post a winning post and was never in 
real danger of defeat. He accepted every challenge from 
the field, trying to defeat him. The colt was admirably 
ridden by Cash and carried 126 pounds. 

“Blue Water” staggered into fifth place with King 
pulling up in sixth position. Minus came seventh and far 
back came “Chester” eighth, the great juvenile filly, 
with “Muggins” nine and Orphan Annie, ten. Jockey 
Serf riding “Blue Water” shot into the lead as the barrier 
was sprung; behind him thundered Black Domino, with 
the rest of the field fighting for the pace and watching the 
two leaders. Fifty feet from the start, Jockey Cash 
urged Black Domino into the lead and before the finish 
of the first quarter it was evident that the great colt would 
retain it. When the flyers fled past the stand, on the 
start of the punishing mile and a quarter race, Black 
Domino led by a length, with Orphan Annie in second 
place, Blue Water third and Chester trailing fourth. 

The field spread out in the back stretch with Black 
Domino setting the pace, followed by three horses running 
abreast. 

Black Domino running with a marvelous pace made the 
turn into the stretch without losing a foot and straightened 
away for the run to the wire. Joe Custer began to show a 
burst of speed, closing the gap between him and Black 
Domino. 

Jockey La-trophe on Black Domino knew he was in for 
a close race, and he laid his face against the steaming neck 
of the colt, shouting words of encouragement to the horse, 
but never applying the whip. “Go to it, boy. Win or die,” 
was his slogan. 

The colt seemed to understand what was expected of 
him, increasing his speed and crossed the wire two lengths 
ahead of Joe Custer, while the crowd shrieked his name 
from the stands. 

There was a mighty roar and another “Derby” had 
passed into history. And the name of Lee Dixon was wiped 
off the slate of life by a shot from his own pistol. 






















WHICH IS THE GREATER MAN? 

A MUSICAL COMEDY 
IN THREE ACTS 


By Mrs. ALBERT LYNESS 


TIME AND PLACE 

Scenes: Calcutta, Bombay, British India. 
Period: Early part of Ninth Century, A.D. 
Time of Action: A fortnight. 


WHICH IS THE GREATER MAN? 


PERSONS REPRESENTED 
Men 

Orville — King of British India. Costume: Purple and 
gold. 

Rogers — King of Bombay. Costume: Heliotrope and 
white. 

Oliver — A wise young sage. Costume: White, girded 
with red. 

Louis — A handsome young Monk of the Yogi Caste. 

Costume: Light blue satin, trimmed with lace. 

Prince Curtis — Suitor for the Princess Lona’s hand. 

Costume: White, girdled with heliotrope. 

Prince Robert — Lord in waiting to King Orville. 

Costume: Light blue and gold. 

Prince Claire — Lord in waiting to King Orville. 
Costume: Pink and gold. 

The Butcher of Bombay — Dressed in white butcher 
linen and apron. 

Mongoose — A dwarf, the King’s witty fool. Costume: 

Half gold and half brown. 

The Ghost. Costume: White. 


Ladies 

Princess Lona — King Roger’s daughter, in search of 
husband. Costume: White and gold. 

Irene — A lady-in-waiting to King Orville, in love with 
Prince Curtis. Costume: Pink, trimmed with rich lace. 
Lillian ] 

Rose }• Maids of honor at the Court of Calcutta. 

Ruby ) 

Lottie — A professional dancer. Costume: Yellow and 
gold. 


g6 WHICH IS THE GREATER MAH 

Mother Duty — A shopkeeper at Bombay. Costume: 
Brown. 

Courtiers, Pageant, Guards, Soldiers, Ladies-in-Waiting, 
Flower girls, Maids and Chorus Girls, Cup Bearers, 
Crier’s Jugglers, Cymballers and Acrobats, etc. 


Act I. — King Orville’s Court at Calcutta. 

Act 11 . — A Street in Bombay — “The Gala Day.” 
Act 111 . — Forest of Riz-Pah, near Bombay. 



SYNOPSIS 


Orville, King of British India, a powerful monarch with an 
enquiring spirit, is searching for the Greatest Man in 
creation; forever pestering his subjects as well as any 
traveller or stranger that might chance into his king¬ 
dom, with the question of "Which is the Greater Man?" 

All his efforts have proved useless. Until our play opens, he 
has never obtained a satisfactory answer to this query, 
although a palace and the Lady Ruby’s hand was of¬ 
fered for the solving of this problem. Oliver, a wise 
young Sage of Calcutta, known far and wide on account 
of his profound wisdom, is cited by the king'to appear 
at the court of Calcutta in order to answer this difficulty. 

When the puzzle is put to him, he answers directly and 
with great simplicity: "Each, O King, is great in his 
own place — equally so.” 

Whereupon the King, not satisfied with this answer, de¬ 
mands of Oliver to prove this statement to him in a 
practical way. The young Sage offers to prove it upon 
one condition, merely this: He required the King to 
lay aside his royal Purple and Crown and to become one 
with him for the space of a fortnight. To this the king 
readily consents, and Oliver teaches him many lessons 
regarding his answer. 

They journey onward and reach the city of Bombay the 
very day the Princess Lona is about to select a husband. 
The streets are in gala array, and people are assembled 
from the many neighboring territories, forming an im¬ 
mense throng and stopping all traffic in the streets. 

The King’s criers are loudly proclaiming that the most 
beautiful and much sought after Princess Lona was 
about to select a husband from among those assembled 
and the fortunate one would be " he to whom the Prin¬ 
cess would throw a fresh garland of roses.” 

Louis, a young Sannyasin or Monk of the Yogi caste 
bound by perpetual continence, is also hemmed in by 
the crowd and is standing modestly under an arch 
watching with keen inspiration the procession as it 
passes. He is extremely comely, and as perfect in fig- 


98 WHICH IS THE GREATER MAN 


ure as a Greek god, and consequently attracts the 
Princess Lona who is looking for the most handsome 
man, to grace the Court of Bombay as her husband and 
lover, notwithstanding his habit attire, she beckons 
her guards to make way in the crowd, so as to reach 
Louis. She stops the litter directly in front of him, then 
throws the garland of roses over the young Monk’s 
head. 

To the utter amazement of all present, the young Monk, 
taken by surprise, quickly recovers himself and remem¬ 
bering his dignity, seizes the garland and hurls it to the 
ground, with contempt, then tries to break away from 
the crowd. The Princess leans forward a second time 
and throws another garland over his head only to meet 
with the same treatment. The King then offers him 
half of his Kingdom and the remaining half at his death. 
The young Monk will not listen to his bribes and offers 
but hastens out of the city to his hamlet, the Princess 
following closely with her guards, hoping to change his 
resolution. 

Oliver and King Orville also follow to note developments. 
On reaching the forest the Monk suddenly disappears, 
so that no one can find any trace of him. The Princess 
sits down to weep and Oliver and the King offer to con¬ 
sole her and promise to see her safely home. 

Then Oliver, having satisfied the King’s desire for knowl¬ 
edge, bids these two misguided creatures adieu; and the 
King recognizing his mistake and folly determines to 
rule his kingdom with more justice and the Princess 
Lona, realizing that happiness does not depend on 
beauty or wealth, but the faithful discharge of one’s 
duty as a rational creature, gives her hand in marriage 
to King Orville, and all ends happily and well. 


ACT THE FIRST 


Scene. King Orville’s Court at Calcutta. Opens with a 
lively chorus of Girls and Courtiers, after which Lottie 
enters, as a professional dancer. 

The court room is magnificent, two immense pillars grace the 
center of the stage, in the middle erected about five steps 
above the floor level, is the King’s rostrum carpeted with 
Oriental rugs. The Royal Seat is of heavy brass, draped 
with rich curtains, the walls are hung with superb 
paintings. 

Prince Curtis is seated in one corner of the court room, his 
head resting in his hands as if in deep thought. He is 
wearing a troubled look and taken as a whole, the attitude 
of the young Prince conveys a melancholy impression. 
Lady Irene is seated directly opposite with Lillian and Rose, 
watching the idle Prince covertly. She turns to Lillian 
and remarks: 

Lady Irene. Lillian dear, what think you of the Prince 
Curtis? He is not the gay, happy, light-hearted prince of 
yore, and have you not noticed a marked change in his 
conduct? I thought within my heart, that His Lordship 
cared a trifle for me, but of late how sad my thoughts. I 
can not understand, nor am I mindful of having displeased 
him in any way, yet so cold — (shrugging shoulders). Can 
you, Rose dear, recall any incident in my behavior, that 
would justify such treatment? Or ( halting ) do you think 
that Curtis has ceased to love me? 

( Lillian, shrugging her shoulders, and fanning im¬ 
patiently) 

Lillian. Well, surely, Irene, I cannot answer your 
question. No doubt Prince Curtis has a secret, seeing that 
he holds his own counsel so well; besides men are so 
changeable and whimsical, that one half of the time they 
do not know whether they love a girl or not, so why 
trouble yourself about it? (Slyly.) Open your eyes and 
look about — start a flirtation with Claire. He has a sly 



100 WHICH IS THE GREATER MAN 


regard for you and will understand your intentions, and 
help you out of this dilemma. 

Rose {rising and teasing Irene). I think that Curtis 
has found a second lady love, and she is far more attrac¬ 
tive than you, Irene. However, she is very clever, who¬ 
ever she may be, and it is evident from appearances that 
she is using the lash on his Excellence in order to bring 
to the surface the hidden forces of his character. But 
have no fears, Irene. “What is to be, will be, and what is 
not to be, will never be.” 

{Enter Prince Robert and Prince Claire, dressed in 
cloak suits and swords , advance to center of stage. 
Robert turns and in one swift glance gleans the 
whole situation of the court and remarks aloud to 
Claire) 

Prince Robert {aside). This churlish passion from 
within takes hold of men’s brains and leads them hence; 
destroying mind and even will, draining as it seems man¬ 
hood, honor, power and strength, making us puppets of 
lust and sin. 

Robert {turning to Claire). I say, Claire, have you 
noticed Curtis lately? Looking rather lean and hungry, 
no doubt he is sore about that little Bombay affair. What 
folly for a man to tie his heart strings to a hopeless case. 
I would not be afraid to wager my princely estate that the 
Princess Lona has not given him a passing thought. 
True, she did rest her eyes admiringly on him for the space 
of a second, and he, fool that he was, has the idea in his 
head that he will win her. 

Prince Claire {laughing lightly). To win the Princess 
Lona is a lost game from start to finish. That girl is as 
hollow as sounding brass, possessed only of a white and 
pink face that is doomed to fade as the flower it reflects. 
{Filling wine glass with liquid from a decanter.) She also 
has a doting father who thinks he can buy any man whom 
Lona may happen to fancy, the same as he can buy a top. 
Ha, ha, ha! Well, I would not chance into her path, 
Robert, from the reports I have heard of her. She is all 
surface and all face, and no depth to the girl, one may as 
well marry a doll and then set it in a glass case for keep¬ 
sake. {Laughs.) 


WHICH IS THE GREATER MAN 


101 


Prince Robert {in a stage whisper). I say, Claire old 
boy {slapping him good-naturedly on the back). Moist 
ground is good for transplanting. What say you to work¬ 
ing up some sort of scheme for the benefit of Irene. There 
she sits, poor girl, eating her heart out trying to discover 
the cause of his coldness, without suspecting him of trea¬ 
son. And there {pointing to Curtis) sits that lean, hungry, 
self-centered wretch, thinking perhaps of the heartless 
Princess Lona. Let us awaken him out of this torpor, 
and make the chase a lively one. {Advances toward Irene, 
Lillian and Rose.) 

Robert {gaily). Why so pensive and sad, Irene, would 
you like to take ride with us this noon, we will have a wild 
chase across the country, and no doubt the gallop will 
brighten your eyes and bring back the color to your 
cheeks. Cheer up, sister, we understand the situation 
thoroughly, and mean to give Curtis a lively roasting, 
rest assured. 

Rose {excited). Oh, Robert, how good of you. I knew 
you would come to my rescue, you, too, have noticed 
Curtis’s sadness of late. What has happened to him? 
Can you enlighten us a little? 

Prince Claire {dryly, drinking wine). Hum, I suppose 
Curtis has been playing games lately, and no doubt he has 
lost heavily. {Laughs.) I say, Robert, that’s about 
right, is it not? {Slapping him good-naturedly on 
back.) 

Prince Robert {looking aside in the direction of Curtis). 
I think, Claire, that it is a bad proposition. The fellow 
is hard hit, as the saying goes. I will take a stroll over 
and see if I can engage his attention. In the meantime, 
look out for Irene, and then watch developments. {Starts 
in direction of Curtis.) 

Prince Robert {tapping Curtis lightly on shoulders). 
How are you, old chum? Why, what’s happened, frisky, 
you’re looking as black as thunder. Have you been play¬ 
ing the races lately and been losing heavily? What's 
wrong, chappy, can I help you out, you’re not looking your 
old self. 

Prince Curtis {sulkily). Oh, bosh! there’s not any¬ 
thing wrong with me, only feeling wretched, that's about 
all. {Sulks as before.) 


102 


WHICH IS THE GREATER MAN 


Robert {qui^ing). You’re not sore about Lona jilt¬ 
ing you? Smitten, old boy, with that waxen faced Prin¬ 
cess. She is not worth a thought, Curtis. She’s hollow 
and as false as her face. 

Curtis {churlish). How’s that, watch your saying 
young man, and have a care. It is not your business, 
whether I’m smitten or not, only see to it that you are 
not caught in the same trap. {Turns hack to Robert and 
sulks as before.) 

Robert {winking his eyes, and stamping his foot). Cur¬ 
tis! You are standing in your own light, the whole 
court is aware of the fact that you are smitten. Why 
wear your heart on your sleeve? Stand your part like a 
man, put aside this folly of chasing shadows, and crush 
this pricking foolishness out of your life forever {pointing 
to Irene). Look, Curtis, at Irene flirting at top speed with 
Claire. The girl has every reason to fret and sulk after 
the shameful neglect of your Highness the past two weeks. 
Irene is a prize worth looking for and possesses a heart of 
gold. You will never tire of her, for she is brimful of 
mirth and spirit. It is a puzzle to me how you can act 
with such total indifference, after such marks of devo¬ 
tion for six months. If I were King Orville, I would com¬ 
pel you to marry her out of justice to her dignity. 

Curtis {angrily). Hang it all! Fate is against me, and 
the stars have crossed my path. 

Prince Robert. Men conjure up a ghost and call it 
Fate; this failing they lay the blame of their ills and woes 
to God, their fellowmen and what not. We alone manu¬ 
facture our own lot, by our very words and acts, and shape 
our future destiny. {Shakes his head hopelessly.) 

{Robert looks at Curtis again, then suddenly Mon¬ 
goose the dwarf takes several tumbles over the stage 
and bounces against Robert's legs, almost knock¬ 
ing him off his feet) 

Robert {continuing, aside). Well, Mongoose, what’s 
the meaning of this salute? 

Mongoose {huddling up in a heap at Robert's feet, hold¬ 
ing his sides with laughter). Ha, ha, ha, ha. What do 
you think of the King’s last venture? It’s so funny I 
can’t help laughing. Ha, ha, ha, ha. 


WHICH IS THE GREATER MAN 


103 


Prince Robert (provoked). What's the joke? Tell it 
to me so that I may enjoy a little laugh also. It’s dull as a 
country village around here, and judging from appear¬ 
ances, some sort of tragedy is about to develop. 

Mongoose (still laughing and holding his sides). De¬ 
velop? Well, 1 should say so, some thing is about to de¬ 
velop before the day is out. 

Robert (stooping and shaking Mongoose impatiently). 
You fool, let’s hear the news so as to know what’s what. 
None of your bantering, you yellow-faced rascal! 

Mongoose. You see, it all happened this way. King 
Orville went for a country gallop and fell off his horse, 
when who should chance along but Oliver the Sage. 

Robert (turning abruptly). Oliver the Sage? Thanks 
to the moon, we will enjoy peace and quiet in this blessed 
kingdom the next quarter of a century, for Oliver will 
surely level his Majesty’s crooked brain in regard to the 
query of “Which is the greater man?” 

Prince Robert (slyly). Say, Mongoose, you're a 
bright little chap when awake, what’s wrong with Curtis? 
He seems to have the horrors. 

Mongoose (looking in the direction of Curtis). Oh, 
Curtis saw the passing of the Princess Lona, and thinks in 
his silly head that he loves her, however he is mistaking 
a morbid affection for love, and no doubt he would like 
to be near her all the time and make her his slave, so that 
if she eat, drink, walk or even move, she would do so at 
his bidding. He is a slave to this passion of selfishness and 
because the Princess Lona does not respond to his wishes, 
he has allowed himself to grow sad and melancholy. And, 
you know Robert, as well as I do, that love is not painful, 
but blissful. The fool — what folly! Ha, ha, ha, ha. 

(King Orville, Oliver, and the guards enter. The 
whole court rises and salutes the King as he takes 
his seat on the Royal throne. Chorus follows. 
Oliver standing at the foot of the throne. The King 
then kneels and makes his prayer aloud) 

Lord, God of My Fathers, give me wisdom to rule Thy 
people, give me an increase in wealthy possessions, that I 
might the better enjoy the good things in this life and 
help those of my fellow creatures that are less fortunate 


104 WHICH IS THE GREATER MAH 


than myself. Give me power to command, so that my 
subjects will fear and respect me. Give me more people, 
so that I might enlarge my kingdom, more territories to 
till and build upon, so as to make my Kingdom the greatest 
and largest on the earth. 

{Oliver, disgusted with this prayer, starts to leave 
the court when the King turns and calls after him) 

The King. Ladies and Gentlemen of the Court of 
Calcutta, allow me to present to you Oliver the Sage of 
Calcutta. {Then turning to Oliver.) And you Oliver, 
allow me to present you to the ladies and gentlemen of 
the court of Calcutta. Stay, sir; stay, noble sir, until I 
give to thee the gift that thou hast earned for thy bravery. 

Oliver {gating calmly at the King). Beggars, your 
Excellency, have nothing to give, why should I accept 
your gift? Your prayer to God is, in my opinion, not the 
Drayer of a King, but a self-seeking subject. You are 
bargaining as the shopkeeper does. "Give me this, and 
give me that,” and 1 will give to you my little distracted 
selfish prayer. {Disgusted.) Bah! Where does your 
child love and trust come in. You are only thinking of 
yourself and this frail little kingdom that a blast of mighty 
wind would destroy in one night. You are King on your 
throne, but pauper at heart. Sufficient to man is the ideal 
God of his heart. 

The King {indignantly). From whence do you infer 
that I am a pauper? Or from whom will I ask these gifts 
and blessings? 

Oliver {calmly). Men by their very words and acts, 
create gods who prove judges, that either condemn or 
exalt them. Make of your own life a glorious future, one 
that will prove an honor to thyself and country. For all 
that is to be had or found is within man; Health, strength, 
happiness, love, and even hell is of our own making, 
caused simply by the pricking of our conscience for past 
sins and mistakes. 

King Orville. Perchance, my friend, you have heard 
of the great and noble sacrifice of the Pandu Brothers, 
immediately after the battle of the Kuruks. They took 
all spoils and plunder taken from the enemy and dis¬ 
tributed them among the poor, making every one rich 


WHICH IS THE GREATER MAN 


105 


and happy. Never before did the world witness such a 
noble and generous sacrifice. 

{Mongoose huddles up and rolls across the stage, 
suddenly jumping upon his feet, exclaiming 
wildly) 

Mongoose {gesticulating). You are all deceived, this 
is no sacrifice, none whatever. 

The King {impatiently). How’s that? No sacrifice? 
You yellow-faced imp, you do not know what you are 
talking about. It was the greatest sacrifice ever made by 
two men. 

{Mongoose tells his story) 

Noble King, three years hence, in the village of Naim, 
a terrible famine reigned causing intense suffering and 
want, so that man and beast died like flies on a hot summer 
day. In this same village dwelt a cobbler, his wife and 
only son. A guest poorly clad and in a starving condi¬ 
tion chanced into this cottage and begged for a crumb of 
bread. The cobbler and his wife had nothing to offer this 
stranger, but a small weight in barley bread that was to 
keep soul and body together for them the next twenty- 
four hours, so they decided to give this last piece of bread 
to be had in the village to this stray traveller. The next 
morning I chanced in to this same cottage and found 
these three dead {chorus, “Dead”) yes, dead died of 
starvation in order to relieve one less fortunate than 
themselves. I looked around and found lying on the 
floor a few grains of the flour and consequently rolled 
myself on it for good luck and —now behold the result! 
One half of my clothing became gold, since then I have 
travelled the world over to find another sacrifice equally 
as great so as to turn the remaining half also into gold, 
and as yet I have not found one. Therefore, I say that 
this was not a sacrifice. The Pandu Brothers committed 
robbery by first killing the enemy, and this plunder was 
the price of blood. Sacrifice means to deprive one’s self 
willingly of some necessary element sustaining life and 
giving the same without reserve to God or man. 

The King {appeased). You are right, Mongoose, Blood 
was spilt in order to give pleasure. 


106 WHICH IS THE GREATER MAH 

(Then turning to Curtis, the King demands with a 
frown) 

On thy estimation, Noble Prince, “Which is the Greater 
Man? He who gives up the world, or he who remains 
in the world as a householder performing all duties faith¬ 
fully? 

Prince Curtis (turning crimson, and rising suddenly to 
bis feet, somewhat dazed and confused by the suddenness of 
the question). The householder who performs his duties 
faithfully in the world is the Greater Man in my mind. 

King Orville (quizzing). Why is he the Greater Man? 
Prove this statement to me, Noble Prince! 

Prince Curtis {dazed and stammering). I allow your 
Highness, that I am at a total loss how to explain, further 
than this, I never did renounce the world and live apart 
from my fellow men so cannot judge of that which I do 
not know. 

King Orville {angered). For punishment this very 
day you will marry the Lady Irene and settle down as a 
householder in order that you too might learn your lesson 
as to “Which is the Greater Man.” {Turning to Oliver 
the Sage he demands of him an answer to the query.) In 
thy estimation. Wise Sage, “Which is the Greater Man?” 
He who gives up the world, or he who remains in the world 
performing all duties faithfully. 

Oliver {with calm dignity). Each, O King, is equally 
great in his own place. 

King Orville. Prove this, Young Man, or I will also 
punish you for your folly. 

Oliver {challenging). I will prove it to you, Noble 
King, on one condition. Take off your royal purple and 
kingly crown, and then become one with me for the space 
of a fortnight, and I will show you the truth of my words 

King Orville {decidedly). So be it, friend, as you 
wish. I will leave my throne and Kingdom in the keeping 
of Prince Curtis and Lady Irene, and will become one 
with you in order to solve this problem of many years 
standing. 

{The King commands the Sage to marry Prince 

Curtis to Lady Irene. The marriage is performed. 

Follows a chorus, then curtain) 


ACT THE SECOND 


Scene. Street in Bombay — “ The Gala Day.” A long 
paved street running slant — with low down arches and 
second story balconies thronged with people. The lower 
arches are inhabited by shopkeepers and curios. This scene 
is very grotesque and picturesque. Flags of every nation, 
lanterns and bunting decorate the balconies. To one side, 
in the middle of the arch stands Louis the handsome 
Young Monk. The scene opens with a royal procession of 
Guards and Soldiers, ensigns, dancing girls, flower girls, 
Criers, Fan bearers — afterwards the Princess arrayed in 
white and silver, carried on a royal litter. Lords, Princes 
and Suitors of every description are present to attract the 
good graces of the Princess. 

(The Criers are proclaiming loudly: The Princess 
Lona, the most beautiful woman of Bombay and 
much sought after by all the Nobles of the world is 
about to select a husband from among those assem¬ 
bled and the favored one is he, over whom the Prin¬ 
cess throws a garland of fresh roses. 

The litter is surrounded with pages, cupbearers, 
Cymballers. The Princess suddenly leans forward 
and remarks aloud to the bearers ) 

Princess Lona. Carry me hither, to the middle arch, 
for behold 1 see my future Lord and King in the person of 
the Young and Handsome Sannyasin yonder. 

(The Guards clear the way and the Princess ts 
carried to the middle arch directly in front of Louis. 
She leans over the litter wreathed in smiles and 
gracefully throws the fresh roses over the Young 
Monk’s head, exclaiming aloud) 

Princess Lona (to the multitude). Behold my people! 
the man of my choice, who will grace the Court of Bom¬ 
bay, as my future spouse and lover. 

(Loud cheering and applauding) 

Louis, the Monk (suddenly realising his position and 


108 WHICH IS THE GREATER MAN 


dignity seizing the garland of roses and hurling them to the 
ground, with utter contempt, remarking aloud to the Prin¬ 
cess). What nonsense is this? Your Royal Highness, I 
am a young Sannyasin. What is marriage to me? 

King Rogers (riding up on horseback). Stay thy haste. 
Young Man! and think within thyself. With my daughter 
goes half of my Kingdom, and the entire Kingdom after 
my death. 

Louis {with utter contempt). What are riches to me 
O King! for I am a servant of the Greatest King; and 
have nothing to gain from this vast universe. 

{Princess Lona leans forward a second time and 
throws another garland over the Young Monk's 
head, and again the Young Priest seizes the roses 
and hurls them to the ground, crushing them be¬ 
neath his tread. Then, gating calmly at the Prin¬ 
cess, remarks with great dignity and composure) 

Louis {to the Princess). I ask a second time, Your 
Royal Highness, what do you mean by this ungallant act. 

I do not want to marry, and what is more — would not 
marry you under any circumstances. 

King Rogers {excitedly). Son! Son! consider my 
Kingdom — the most beautiful one in the world, all this 
I will give to you, if you will only marry my darling 
daughter Lona. 

Louis {with calm dignity). What care I for riches? They 
are as sounding brass in my estimation, and could never 
satisfy the longings of my heart and soul. I have my God 
to comfort me, when sad or lonely; the trees supply me 
with the fruit and nuts my nature requires, and the clear 
sparkling spring with the water I need to quench my 
thirst, my slumbers are peaceful and quiet, for I sleep in 
a cave, 1 have no wants, and feel perfectly satisfied with 
my lot in life {walks quietly and quickly away). 

Princess Lona {turning to her Father). O Father 1 
must marry this young Sannyasin, or I shall die — my 
heart yearns for just such a pure unselfish love. {Angrily.) 
Move, my guards, Move! and follow whither he goes. I 
will not suffer myself to be defeated by one of his caste, 
nor will I cease troubling him, until he consents to marry 
me {starts in the direction taken by Louis). 


WHICH IS THE GREATER MAN 109 

Prince Claire {to Robert, laughing lightly). Well, old 
Chappy, what do you think of the beautiful Lona? O ho! 
she can not buy every man with her glittering gold and 
cold, stiff beauty. Here is a man matched against her 
charms, and the old Gent’s bribes. 1 give you a warm and 
hearty handshake Robert, for your spirit in refusing her 
hand in marriage. 

Prince Robert {gaily). Curtis can thank his lucky 
births tone, for having launched Irene safely in harbor, 
even if the marriage did take him a little by surprise, 
Curtis really loves Irene, but he is not aware of the real 
fact, having his mind diverted by the beauty of Princess 
Lona. 1 would not exchange Irene’s tiny finger for Her 
Highness’s Royal body. We all loved Irene but Curtis 
happened to be the lucky dog to win her affections. 

{King Orville, Oliver, Prince Robert and Claire, 
stand to one side and watch some very interesting 
feats performed by Indian Jugglers and acrobats. 
King Orville and Oliver turning hastily and advance 
toward “Mother Duty’s” shop, knocking loudly on 
the door. At the same time Oliver remarks) 

Mother Duty, hasten and bring us food, for here waits 
the King, and he who can burn thee with a glance. 

Mother Duty {from within the shop). Wait, my son 
wait — just a little while, and Mother Duty will supply 
all your wants, never fear. 

Oliver {impatiently). Wait, you wretched woman, we 
can not wait, we are in haste to follow the Princess Lona 
and the Young Monk Louis. How dare you bid us wait? 
You do not know the power possessed by me, or you would 
surely hasten to obey my orders. 

Mother Duty {calling from within the shop). Young 
man, think not too much of yourself or the power you 
claim to possess, for here dwells neither crow nor crane, 
that can be burned by your glance. 

{A few minutes later Mother Duty comes out of the 
shop, carrying a tray with two bowls of hot broth, 
and toast, she sets them on a small table, and Oliver 
hastening to her side throws himself at her feet 
exclaiming aloud) 


IIO WHICH IS THE GREATER MAN 


Oliver (penitent). Mother, dear! How comes it that 
you know of my wicked deed in the forest? Were you 
present when I did that shameful, unmanly act? 

Mother Duty (truthfully). Nay, my son! I was not 
present, albeit, nor did I even know of your harmful 
practices. I am only a common every day woman, work¬ 
ing hard from morn until night, and my life long I have 
struggled to do my duty first, as a child toward my dear 
departed parents, now as a wife and mother, and when you 
called to me to come and wait upon you and the King, I 
was busy attending to my poor sick husband, my very 
first duty. God granted me the light to see your wicked 
thoughts and harmful practices in order that 1 might 
warn you of your sins. If you desire to know more, go 
two doors below and knock for the butcher, he will tell 
Thee something, you will not readily forget. 

(After drinking the broth, and paying the due on it 
to the lady, Oliver and the King go to the butcher 
shop and peer through the open doorway, then 
knock loudly) 

Oliver (turning to the King, remarks aloud). What can 
that big fat, ugly butcher teach us in regard to solving our 
Problem, or is it possible for him to enlighten us in regard 
to this subject in hand, we who possess all knowledge 
worth knowing? What knows he aught of slashing meat 
with two big unsightly knives, and of driving a bargain 
with every passerby? 

King (questioning). And, is this the Man, from whom 
we are to learn and find anything worth while? He looks 
more like a demon to me, than anything else. 

(The fat butcher, wreathed in smiles, emerges from the 
shop holding two huge knives, and dressed in 
fresh butcher linen and apron, sings in a good- 
natured lively strain the following melody) 

The Butcher’s Song 

I 

The world will never adjust itself 
To suit your whims to the letter; 


WHICH IS THE GREATER MAN hi 

Some things must go thus your whole life long, 

And, the sooner you know it the better. 

II 

It is folly to fight with the Infinite. 

And go under at last in the wrestle; 

The wise man shapes into God’s great plan 
As water shapes into a vessel. 

— Ella Wheeler Wilcox. 

Butcher (after finishing the song turns and remarks, 
good-naturedly). Well Swami, did the old Lady yonder 
bid you come to me? If so {rolling up his sleeves), take a 
seat with your friend, whoever he may be, until I have 
first finished my business indoors. {Aside.) What do 
these two want of me? {Then enters the shop in great glee, 
whistling, returning immediately, filling his pockets with 
money he has taken in by trading. Advancing toward Oliver 
with a beaming face, he looks critically at the King and 
remarks, gaily, rubbing his hands) 

Butcher {beaming). Now, Sir, you have called to see 
me? May I ask what can I do for you? 

Oliver {astonished). But — first let me ask, friend, 
how comes it that you are in this ugly fat butcher body, 
and doing such filthy, dirty work as this? 

Butcher {in great glee). Young Man, let me tell you, 
that nothing is filthy or impure in God’s sight, no duty is 
coarse or ugly, unless we ourselves make it thus. My 
birth placed me in these circumstances and these en¬ 
vironments, and my dear old Father taught me this trade. 

I am not wedded to my duty, and can readily quit the 
same without remorse or regret, nevertheless; I am fully 
conscious of my duty and perform the same carefully 
and without the least attachment, trying at the same 
time to make my Father and Mother comfortable and 
happy. I know very little about religion, and never re¬ 
treated to a forest to acquaint myself with knowledge, 
but I have come to the full knowledge of God, through 
the faithful discharge of my duty in this position, and also 
as a devoted son, and through my habitual cheerfulness, 
wholeheartedness and willingness, have obtained wonder- 


WHICH IS THE GREATER MAH 


112 

ful light in regard to certain truths little known and under¬ 
stood by the masses, and have realized one of the highest 
states of happiness to be reached by any living creature. 
The secret in regard to work, that 1 have learned is this: 
To let the end and the means be joined into one, and not 
to look beyond the sphere assigned to us as a creature 
in this grand and glorious plan of creation. Be thankful 
that God allows you to exercise your power of benevolence 
and mercy in this world, give your little share generously, 
and do not look, or even hope for a reward, give up the 
desire and fruits of work; do good for good’s sake alone, 
and you will thus become perfect, in no matter what 
state you might be placed. 

The King ( bowing humbly). I thank you, Young Man 
for the truth you have displayed and the knowledge you 
have imparted. 1 see now, that true genuine knowledge 
is not contained in the books we read, but, as you have 
just stated, in the entire and faithful discharge of One’s 
Duty; — and, I shall henceforth use the same methods in 
the performance of my Kingly duties. 

Oliver (to the Butcher). Allow me, kind friend, to 
proffer my good will to you, for your excellent advice. 1 
also see my error in not mixing in with the common folks, 
for “ Each” is equally great in his own place. 

Oliver (to the King). Come, your Excellence, let us 
make haste to the forest Riz-Pah, and note what takes 
place between the Princess Lona and the Young Sannyasin. 


(A chorus follows. The curtain follows) 


ACT THE THIRD 


Sc ™ E - ■„ Fore . st °f R’l-Pab at night. Thick shrubs and 
t ' es ,' llu ’ mnated vntb red lights, lanterns, pumpkin and 
deadheads, giving the scene a weird and picturesque ap- 
pearance. It. opens with a pantomime dance by Fairies 
and Wood Nymphs headed by the Ghost of the Forest. 
1 he Princess is seated on a mossy rock watching the danc- 
* a V™ em f niu m, fascinated by their very movements . 

depar ! s he rises as V in a drea ™ and voices 
the joUowing melody. 


Love’s Royal Song 

(Sung by the Princess Lona) 

One Kiss of Thy Lips, O Lover of Lovers- 
Has caused thirst in my Soul — 

That no Ocean can quench, all sorrows 
Cease in this torrent of delights, and — 
Forgetful of self, past future and 
Even life. To think only of thee, — 

O Life of my Life. What care 1 for 
Pleasures, health, salvation, or wealth; 
All these I possess, tenfold in Thy Love. 

0 Chorus sing from behind the scenes) 


REFRAIN 

Only let me love Thee, — For dear Love’s sake. 

For I am Thee — And you are but Me, 

Worshipping you, I am worshipping self, 

Seeing in you, but my other self. 

Pouring my heart's blood in this channel of Love, 
Realizing only, — that we two are One. 

(King Orville and Oliver emerging from among the 
trees 

King Oliver sings) 


WHICH IS THE GREATER MAN 


1 14 

None, O Beloved is like unto Thee — 

Loving the self, is but Loving Thee. 

What care 1 for Freedom, Salvation or Heaven, 
Realizing suddenly that you are all these. 

Forgetful of self, country and caste. 

To be born again, for dear Love’s sake. 

Drinking this Cup — divinely mad — I became; 
Wanting only Love, I forgot I was Man. 

(Chorus from, behind, the scenes) 

REFRAIN 

Only let me Love thee — For dear Love's sake, 

For I am but Thee — and you are but Me. 
Worshipping you, I am worshipping self. 

Seeing in you — but my other self. 

Pouring my heart’s blood in this channel of Love, 
Realizing only, — that we two are One. 

(The Princess Lona sings) 

And, I live in Thee, and you live in me, 

And, living thus, we two shall be One. 

Not asking for favors, or even return. 

Caring only for God, and the object Love. 

Love wants only Love — and will feed its own flame. 

Joining Atom to Atom — and, Woman to Man. 
Supplying the link, that unites God to Man. 

Man unto Man, and beast unto beast. 

(Chorus from behind the scenes) 

REFRAIN 

Only let me Love Thee — For dear Love's sake, 

For 1 am but Thee — and you are but me. 
Worshipping you, 1 am worshipping self, 

Seeing in you — but my other self. 

Pouring my heart’s blood in this channel of Love, 
Realizing only — that we two are One. 


WHICH IS THE GREATER MAN 
(King Orville sings) 

Sufficient to me, to know that I love, 

For Love is valiant, e’en in death’s jaws. 

Dark night would be light, and bright day — 
Would grow dark, with out the sweet sounding 
Of Love’s gallant dart — Heaven is lost — 

To a Soul without Love’s spirit calms. 

What care I for realms where Love never 
Dawns, with desire I found — that, God, 

Love and You, are one endless chain — 

In Eternity’s Bond. 


(The King stops and listens; then the chorus re¬ 
echoes 

The Princess seats herself again on the mossy 
steep and starts to weep. Oliver and the King 
advance toward her) 


Oliver (aloud). Weeping may endure for a night; but 
joy will follow thee, beautiful Princess, when the morning 
breaks. 

Princess (between sobs). I want a Ghost, to help me 
out of my difficulties; and bring this Young Sannyasin 
to my feet — O! teach me Noble Sage, how to take hold 
of a Ghost. 1 need help very much. 

Oliver (thoughtfully). Ah! Beautiful Princess, do not 
disturb yourself over much about matters you cannot 
alter. Let this Young Monk and his affections alone; 
all your efforts will not win his love. Go home to your 
father, the King, and forget about this little episode in 
your life, and you will soon be happy. 

Princess (sobbing). O! no— 1 can never rest again — 
I want a Ghost to help me; 1 must have a Ghost (stamp¬ 
ing foot) to help me win the love of this handsome Monk 
or I shall die. 

Oliver (decidedly). Well, if nothing will satisfy you — 
I suppose you must have the Ghost — but let me tell you 
Princess — Ghosts are terrible beings to deal with, always 


116 WHICH IS THE GREATER MAN 


on the move — very restless — not quiet a second — 
whatever you tell him to do, he will do it quickly and 
well — so you must keep him busy or he will eat you 
up. 

Princess {drying tears). That, 1 can do easily, I am a 
Princess and have many, many needs and can find enough 
work to keep my whole Kingdom occupied. 

Oliver {making three turns, throws up both hands, 
whistles, and says aloud). I command Thee, Brother 
Ghost! Appear. 

{Enter Ghost) 

Ghost. I am the Ghost! What can I do for you 
quickly or 1 will eat you both. Eternal Motion is my 
name. 

Princess {moving toward Oliver). Oh! Please protect 
me from this horrible being. I have nothing for him to 
do, and he will eat me up. 

Ghost {pacing up and down impatiently). 1 will eat you 
up — 1 will eat you up, if you do not keep me busy and 
give me work to do. 

Princess {pleadingly). O! please Mr. Ghost — please 
do not eat me — but go back to Ghostland, and let me 
alone, I will not trouble you again. 

Ghost turning somersault). That 1 cannot do until 
“Sunrise” tomorrow morning. Hurry up, give me work, 
or I will consume you, for bringing me out of Ghost- 
land. 

Princess {hopefully). Build me a Palace of Glass! 

Ghost {quickly). Behold! it is done — what more — 
hurry — hurry — or 1 will consume you. 

Princess {cunningly). Bring me gold — heaps of 
gold — enough to last me a lifetime. 

Ghost {dragging in bags of gold). Here it is, what 
next? 

Princess {agitated). Cut down this forest, and build a 
City in its place. 

Ghost {gallantly). Behold! I have fulfilled your wish. 
What next? Hurry or I will eat you — if you do not keep 
me busy and give me work. “Eternal Motion” is my 
name, hurry or I will consume you. 

Princess {triumphantly). Bring me the Young and 


WHICH IS THE GREATER MAN 


117 

handsome Sannyasin, for I wish to marry him, and shall 
die without his love. 

Ghost ( shaking his finger). Now you are asking the 
impossible. How can I bring that Young Monk against 
his own wishes? Did he not tell to you that he would not 
marry you, under any circumstances? Can any thinking 
man, be forced to do anything not to his desire, or can I 
make him do contrary to his will? 

Ghost (impatiently). Give me something to do — or 1 
will consume you. I cannot be idle a second, “Eternal 
Motion” is my lot. Hurry, 1 must work, or consume all 
within my reach. 

Oliver (to the King). We are all puppets; making life, 
yea even death a struggle — by the petty annoyances in 
every day life, and this paltry pittance, what is it? that 
men call gold or wealth? 

Oliver (to the Princess). 1 will help you out of your 
trouble, Princess (handling her a curly dog’s tail). Give 
this tail to the Ghost and have him straighten it, so that 
it will never curl again. 

Princess (cheerfully). Here, Brother Ghost — straighten 
this dog’s tail so that it will never curl up again. 

Ghost (savagely). My, My, this is dreadful, 1 never had 
such trouble before in my life, and I happen to be an old 
Army Ghost — always on the move for work of some 
kind. 

Oliver (to Ghost). Well you want to be kept busy, so 
you can keep occupied by straightening this curly tail. 

Ghost (returning tail). Princess, I will compromise 
with you — take back this eternal curly tail and let me 
go back to Ghostland — you can keep the gold and the 
palace only let me out of this horrid world — This dog’s 
tail is like the Old World — fanatics, reformers, cranks 
and zealots, have been trying to straighten it from Adam’s 
day down but one after the other dies in the struggle, and 
the dear Old World curls itself up again and the Smoke 
goes up the Chimney just the same, the only change they 
succeed in creating is Strife, Anger, Unrest, causing people 
to fight — hate and kill one another, retarding all true 
progress. The real reform is the heart reform, and in 
this lies eternal progress. Do not worry, you wonderful 
Princess, about your subjects, what they should eat or 


Il8 WHICH IS THE GREATER MAN 


what they should drink. The dear Old World will go on 
just as it has been going on for thousands of years. Re¬ 
form yourself and then your Kingdom will see a permanent 
and lasting reform. 

Oliver (to King and Princess ). You two are both 
misguided souls, and seeking that which neither will 
ever find. “Duty to one another is the only Watchword. 
So if you are both willing 1 will marry you here and now.” 

Oliver (to the Princess). Do not weep, fair Lady, we 
will show you the way out of this forest, it is dark now. 
I will marry you to King Orville and in the morning you 
can start back to your Kingdom and commence life anew. 
Even a Kingdom is as nothing to divert from the path, the 
life one has chosen. If you want to be a householder, be 
willing to hold your life a sacrifice for the welfare of those 
you love, and if you choose a life of renunciation do not 
even see beauty, gold, power, or fame, less perchance, 
you be turned from the path you have chosen. Each O, 
King, is equally great in His own place! but the duty of 
one is not the duty of another. So saying he bid the King 
and Princess adieu. 

A little bird, his wife and three little birdies lived in 
this very tree; the male bird knew that even a King and 
Princess could not keep warm. So he flew away and 
came back with a little burning firewood in his bill and 
dropped it down to the King and Princess, Oliver gathered 
more and they soon kindled a fire and kept warm until 
morning. 

A wild fanatic — graced this world. 

In search of a “ Reform. ” 

Said he to all his fellowmen 

This old Earth— I’ll re-inforce. 

I’ll beat down drink, and all other ills 
And make them see the right and the wrong. 

So the Silly Clown worked night and day, 

To force upon the Earth “Reform” 

Scowling and sizzling like a furnace rare, 

Until a Volcanic eruption came 

And landed him safely on Jordan’s shore 
And the dear Old World went on as before. 


WHICH IS THE GREATER MAN I 19 

You can work like a major for your so-called reform, 

But the World with all its vices 
Will be just as nice as before. 

It has always been, and it will always be. 

Just a charming old place for folks to dwell in, 

And the smoke goes up the chimney just the same. 

(Curtain) 




VERSE 



s 


r 





THE PHANTOM, FEAR 

Amidst the dwellers of the earth, a Phantom walks, 

A Phantom hideous and malign, with eyes that glare, fire- 
fierce, v 

’ In a livid, demoniac stare, freezing the very marrow in our 
bones, 

Paralyzing energy, heart, and soul, destroying spirit, life, 
and love 

And far surpassing, in her hate, all others of her cursed 
race. 

Naught in that face can we detect, save a fixed, intolerable 
stare. 

Facing us at the very threshold of life, this Phantom 
stands — 

This image of the night, that’s known as Fear. 

Tantalizing all within her reach, progress, advancement, 
freedom 

Causing shudders, shrieks, and screams of terrible fright; 

Mothering, in her loathsome womb. Envy, Anger, and 
Hate. 

Freedom and Peace can reign only when you have banished 
Fear, 

That dreadful Thing that has hypnotized the whole living 
race, 

Forgetting “afraids”, “buts”, “what ifs”, and “sup- 
posings’’. 

Analyzing closely all “aren’t you afraids”, striking a blow 

Between the monster’s eyes; then the whole foul brood 

Of Fear’s progeny will perish for the very want of food. 

Ah, lo! from yonder mountain height, a gallant hero of 
the night, 

With banner striped with words across: “ I can”, “ I will”, 
“Idare”. 

A certain dash, courage, hopefulness, and daring, all his 
own. 


124 


VERSE 


He stands before the hideous monster. Fear. Crushing 
beneath his feet 

The bugaboos of childhood dreams, the things to be feared 

By manhood, too; the worries, and the “I’m afraids’’ that 
snarl 

And yelp from out the shades that gather about life’s 
way. 

Then suddenly realizing his massive strength and might, 

This young giant boldly walks to the fence at night, and 
smites 

From its post, this home-made pumpkin-headed jack-o- 
lantern, Fear, 

Tearing from her frightful form the hideous mask, exposing 
the sham, 

Smashing with one strong blow, this nightmare fraud. 

Destroying its fierce eyes of tallow fire, then calmly holding 

At arm’s length the creature robbed of all its terror. 

He smiles serenely, then throws the humbug of the ages 

Into the limbo of forgotten things, then calling with a loud 
clear cry 

To the coming ages, bids Freedom, Courage, Hope, and 
Peace 

Enter the immeasurable space of “I can”, “I will”, “I 
dare”! 


REVELATION 

I stood one night upon the brink of death, 

Weary, sad, alone, and sore distressed — 

My groping soul astray in horror’s realm — 

Thinking, planning there to lift the latch 
And enter, uninvited, the Beyond, 

When, lo! across the stillness of the night, 

A Being came that filled my heart with fright; 

He, in a voice of thunder, spoke to me: 

“ How dost thou dare, O weakling, lift thy hand 
To open this fast-closed mysterious door? 

Canst thou not see, in realms that thou wouldst seek, 
Awaiting thee, a thousand tortures keen? 

The very demons cast their lots for thee, 

And thou wouldst throw thyself into their midst! 


VERSE 


Behold, above, the mighty ensign flare — 

The sovereign will of Him who made thy soul. 
Angel of Death am I; thy time on earth 
Doth lie with me, weakest of all mankind!” 

Straightway I felt the poignant need of love, 

The sacred flame that burns the dross away 
And leaves pure gold with which the Master works 
To form a vessel meet for his own use, 

And bowed my head in shame — and thankfulness. 

“AB INTRA” (ANGER) 

One night I stood on the bridge of sighs. 

Sad, forlorn, thinking the while 

What passion it was that caused such grief, 

When lo! from yonder thicket deep, 

A man emerged, in anger steeped; 

Forth from his eyes the monster sent 
Such streams of fire, and green content, 

It made me shudder and wish for death. 

This monster raged, and hissed and glared 
Until methought the forest held 
Within its shades, some rabid beast. 

Out from his mouth came reptiles — toads. 
Creatures to fill the world with pain. 
Methought within, what can this mean? 

A human soul in such horrid thrall! 

And as he nearer to me sped 
I saw his face, a loathsome mask, 

Disfiguring all the man within, 

And with the voice of hateful sin 
The earth around about was swept 
With creeping vipers, and serpents sent 
Forth by the man and his wasted force. 

And this poor wretch, what say of him? 
Naught but this: a slave to sin. 

Caused simply by this reckless vice 

That brings men naught but a wasted life — 

Creating sorrow, grief, and strife. 

And now the forest, once so calm, 

Echoes a fearsome clamor loud, 


126 


VERSE 


The dread and fear of all around 
Who dare to venture in its thickets rare. 
So learn from this, my soul, control 
Of forces that o’er thee would roll. 

And ne’er destroy, or cause to fear. 

The ones to us most sacred and dear. 







































JUN 10 1124 






































